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LINETTE SMITH is a self-confessed Old Skool raver who still shakes a glo stick to banging house and techno, though these days she goes to bed a lot earlier. She has a penchant for bright colours and large loudspeakers, and if the loudspeakers are brightly coloured then so much the better. She is a firm believer that life is way too short for boring HiFi. Can often be found dancing in the kitchen while Stu is DJing, or chilling with the cats at HiFi PiG Towers. Lin loves travel, the beach in the winter and going to HiFi Shows around the world. She dislikes mansplainers and coconut.
SARA VALLE is a London-based writer and journalist. She was born in Spain, where she started writing fiction when she was a kid. That somehow evolved into writing about real life and people. Sara’s love for music started when she was a teen and she couldn’t get enough of emo and pop punk. You can probably find her at a live show, writing the next chapter of one of her novels while jamming to her favourite songs, or travelling (most of the time to catch a gig). She also loves dogs, supermarkets, the sea, tattoos, and how people’s eyes light up when they talk about their passions.
JANINE ELLIOT is HiFi journalist but has also written on subjects as diverse as cars to tropical fish. She has worked in the HiFi industry for a number of companies in research, design and writing of product manuals. She spent 25 years at the BBC as a sound engineer and now teaches music in schools. As a musician she has played keyboards and guitar with a number of famous musicians and produced her own albums and music for film. She is a keen collector of reel to reel machines and has an excellent knowledge of classic audio and HiFi.
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THIS ISSUE’S TEAM
BAI IBRAHIM CHAM aka Rahim is a hip-hop head from The Gambia, smiling coast of west Africa.. Born and raised in the tropics , Rahim started his journey with music in the early 1990s. Inspired by the likes of Coolio, Snoop Dogg, Salt & Pepper and Method Man, Rahim formed his 1st rap group in 2001 called Cali Deep Roots before quitting rap and co-founding the Cypher in 2012, a hip hop platform that showcases young talents through its 5 elements. Rahim served as the president of the cypher for 5 years while hosting the popular entertainment talk show TopNotch Convo on national television of The Gambia for six years. Rahim now lives in Edinburgh UK aiming to broaden his networks in the entertainment industry.
ALAN McINTOSH has been a fan of music for over 40 years and with a couple of decades behind the decks and more fiddling in a home studio, Alan is a self-confessed jazz addict, lover of electronica , prog rock and all in between as long as it’s good ! Based in Glasgow , working in the global technology sector, Alan is passionate about travel, HiFi, vinyl, mountaineering and great single malt. Over the last 5 years he’s fallen hard in love with open reel tape and is increasingly immersed in splicing and rewinding tails out tape! When not writing about music he also blogs about mountaineering and the great outdoors.
JOHN SCOTT has had an interest in music and the things that play music for literally as long as he can remember. Even at an early age he showed a precocious knack for HiFi tweakery, warming one of his mother’s records (Walk Tall by Val Doonican, if you must know) in front of the fire before playing it. He remembers this well as it was on the same day that he learned that vinyl warps quite badly when subjected to heat. John combines his love of music and HiFi with another life-long passion, photography and has thousands of blurry photos of people playing music in the dark to prove it. His less-blurry, better-lit photos often accompany his live music reviews for HiFi PiG and can also be seen on his Upstage Photography Facebook page.
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THIS ISSUE’S TEAM
OSCAR STEWART was born to a former punk and music has been in Oscar’s life since he left the womb. A 2000’s emo kid at heart with a love for post-hardcore and pop-punk, Oscar can be found at gigs when not working or writing reviews. Working in customer service within the audio industry, he has over 12 years experience reviewing headphones and portable audio. At home his system consists of streaming, vinyl and CD through headphones and HiFi. Based in Worthing and born in Brighton, he can also be found tinkering with vintage HiFii, mountain biking or behind the lens of a camera
MICHAEL FAIRBAIRN developed a love for music and playing guitar in his early teens but started to take it seriously when he went to music college. Having slogged through a nightshift job the previous summer to invest in a ‘proper’ guitar and amp, he spent a whole student loan on his very first HiFi system. Over the next two decades he pursued a career as a musician; even securing an ‘Alien with Extraordinary and Exceptional Ability’ visa to work in the United States. These days, Michael tends not to go out as often as he would like, mostly due to being a dad of two wonderful children, but when he is allowed out to play, he loves to go to gigs and get more involved with HiFi-related shenanigans.
STUART SMITH is the founder of HiFi PiG and has a long and chequered history in music. Once a radio DJ on the Sony Radio Station of the Year (1992) Wear FM hositng the world-infamous Midnight Train To Doomsville show, he’s put on loads of parties, played loads of clubs, owned a record shop, and played in dub reggae band Roughneck Sounds. He’s fairly consumed by music and the things he plays it on. When not reviewing kit for HiFi PiG, he can be seen and heard behind the decks of his home DJ setup playing a wide range of house and techno.
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THIS ISSUE’S TEAM
IAN RINGSTEAD reckons he has HiFi in his DNA and has been listening to music as long as he can remember.
ERIC VAN SPELDE is someone we have known for longer than HiFi PiG has been in existence and so he was a natural fit into the team.
He has enjoyed 24 years in audio retail and hs sold many of the leading brands of HiFi in that time.
His audio passions include having tweaked a pair of Avantgarde Acoustic horns to be fully active.
Analogue is Ian’s thing with him claiming that turntables are still the best source, but he also enjoys CDs.
Musically, Eric is a child of the rave generation and has a love for techno and house from the early to late 90s, but still likes to keep his hand in on that front.
Ian is a great advocate of value for money equipment and doesn’t shy away from buying classic second-hand kit if it is still good.
Outside of audio Eric loves tinkering with his beloeved TVR motorcars.
Registered Office: 86-90 Paul Street, London, EC2A 4NE Hifi Pig is part of Big Pig Media LLP Partnership No OC397825
He has a love for progressive rock from the ’70s and listens to a wide choice of musical genres apart from opera, rap, and traditional jazz.
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emotion
thru
sound
A
INTRODUCTION TO NOT BORING BY HiFi PiG
s we well as celebrating fifty years of Hip-Hop, looking at the Scandinavian HiFi market, focusing on a rather splendid UK/Swiss watch brand, a beautiful dream-car, street-art in Bretagne, a photographic journal of this year’s gigs, and a whole lot of HiFi reviews, we also wanted to approach the topic of the culture of banning culture, historically who makes these decisions, and whether or not censorship of this kind is healthy for us as a wider society. The “banned” element of this edition of Not Boring by HiFi PiG is supposed to provoke a reaction from people, but it should not be seen as being a political standpoint! Rather, it is possibly best to see these articles as a series of opinion pieces written to stimulate discussion around the topic. Will the opinions expressed offend people? Of course they will! Opinions, whatever they are, always offend someone or other… and that is sort of the point. As a society we continually seem to be tiptoeing around saying what we actually think for fear of offending this group or that individual, and that is where sensible discussion on any topic ends and polarised opinions battle it out, often on the online frontline. The art of reasoned discussion seems to be out the virtual window and we are now left with two (or more) factions hurling abusive comments from across the divide without any middle-ground being achieved and, indeed, often being obliterated in the incessant crossfire. I hope that you enjoy everything that we have brought together in this final edition of Not Boring By HiFi PiG of 2023, but I also hope that it challenges you and encourages an open line of discussion about what we conisder to be offensive and how those lines of offence are ever changing. On a final note, we always wanted Not Boring to have a “Fanzine For The 21st Century” kind of vibe about it, but with the focus being on music, audio, popular culture, and beyond…and I think we have achieved this in our first year. Hoping that the coming year brings you all you dream of! Stuart & Linette Smith
LIFE’S TO SHORT FOR BORING WELCOME TO NOT BORING BY HiFi PiG.
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CONTENTS
COVER STORY
HiFi REVIEWS
SCANDIFI - THE RISE AND RISE OF SCANDINAVIAN AUDIO
BØRRESEN X3 LOUDSPEAKERS T + A SOLITAIRE S430 LOUDSPEAKERS CLOSER ACOUSTICS PROVOCATEUR 300B AMPLIFIER AND FORLANE WIDEBAND LOUDSPEAKERS OPHIDIAN INCANTO LOUDSPEAKERS KANTO ORA LOUDSPEAKERS MUSICAL FIDELITY NU-VISTA 800.2 INTEGRATED AMPLIFIER VON GAYLORD AUDIO HARMONY TUBE PREAMPLIFIER TECHNICS SU-GX70 NETWORK AMPLIFIER NAD C 3050 AMPLIFIER VERA AUDIO POWER AMPLIFIER P400/1000 AURORASOUND HFSA-01 INTEGRATED AMPLIFIER AUDIOLAB 7000A INTEGRATED AMPLIFIER AND 7000CDT CD TRANSPORT 432 EVO MASTER MUSIC SERVER INNUOS PHOENIX USB MELCO N1-S38 DECO AUDIO TRANSFER DAC EVERSOLO DMP-A8 VIOLECTRIC DHA V226 HEADPHONE AMP AND DAC TITAN AUDIO ARES MAINS BLOCK BRIJ NEDAN 2.0 PLATFORM BY AUDITE ACOUSTICS EVERSOLO DMP-A6 STREAMING DAC iFi AUDIO iCAN PHANTOM MILTRA OTL-8XT HEADPHONE AMPLIFIER S.M.S.L D6s BALANCED DAC OSV HT 50 AMPLIFIER DAN CLARK AUDIO CORINA ELECTROSTATIC HEADPHONES HiFiMAN DEKONI COBALT HEADPHONES HiFiMAN SVANAR WIRELESS HEADPHONES WESTONE MACH 80 IN-EAR HEADPHONES JBL TOUR ONE M2 HEADPHONES STAX SR-003MKII HEADPHONES & SRM-D10 DAC/ AMP/ENERGIZER SENNHEISER HD660 S2 HEAPHONES Fiio M15S DIGITAL AUDIO PLAYER
FEATURES 50 YEARS OF HIP HOP MORLAIX STREET ART THE WINTON WATCH COMPANY SO YOU WANT TO BE AN AUDIOPHILE? THINGIMYCORE THE ART OF SLOWDOWN - THE POWER OF MUSIC
BANNED VIDEO NASTIES BAN THE BOOKS BANNED ART YOU CANT DO THAT ON RECORD ANYMORE CANCEL CULTURE
LIVE MUSIC JOHN SCOTT OF UPSTAGE PHOTOGRAPHY SHARES IMAGES FROM A FULL YEAR’SWORTH OF GIGS. IL WOL DANG INTERVIEW
PLUS
HiFi SHOWS A YEAR IN HiFi SHOWS
COCKTAILS AND MUSIC HiFi HOROSCOPE JUST ONE LYRIC
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VIDEO NASTY
A tion…
VIDEO NASTY
s we are on the subject of things that got banned, it would be remiss of us not to mention, at least in passing, some of the films that got banned in the States and the UK and some of the reasons given for their banning. There’s loads more and this isn’t an exhaustive list by any stretch of the imagina-
Banned Films in the United States: “The Birth of a Nation” (1915) - Banned in several cities due to its controversial portrayal of African Americans and its glorification of the Ku Klux Klan.
“The Texas Chainsaw Massacre” (1974) - Banned for its intense violence and gore, but later released with significant cuts. “The Exorcist” (1973) - Initially banned in some local authorities due to its intense and disturbing content, but later released with an edited version. This is a film I’ve personally seen dozens of times on VHS and whilst it has some shocking scenes, it is pretty tame stuff by today’s standards. “Maniac” (1980) - Banned as a “video nasty” by the Director of Public Prosecutions (DPP) for its violent and exploitative content. “Cannibal Holocaust” (1980) - Initially banned as a video nasty due to its graphic violence and animal killings, but later released with significant cuts.
“Freaks” (1932) - Banned in several states for its portrayal of disability and deformity, which was considered offensive and exploitative at the time.
“The Human Centipede II (Full Sequence)” (2011) - Banned by the British Board of Film Classification (BBFC) for its extreme violence, sexual violence, and degradation.
“The Outlaw” (1943) - Banned by the Production Code Administration due to its sexual content and provocative marketing focusing on actress Jane Russell’s cleavage.
“The Bunny Game” (2010) - Banned by the BBFC for its explicit and prolonged scenes of sexual and physical abuse.
“Carnival of Souls” (1962) - Temporarily banned in several locations due to its eerie and disturbing atmosphere, but later gained a cult following. “Last Tango in Paris” (1972) - Temporarily banned in several states due to its explicit sexual content, but later re-released with an X rating. “Cannibal Holocaust” (1980) - Banned for its extremely graphic violence, including real animal killings, and allegations of genuine snuff footage. “Faces of Death” series (1978-1996) - Banned in several states due to its explicit and disturbing depiction of real-life death and violence. “Kids” (1995) - Initially banned in some areas due to its portrayal of sex, drugs, and HIV/AIDS among teenagers, but later released with an NC-17 rating. “A Serbian Film” (2010) - Banned from mainstream distribution due to its extreme and graphic depiction of sexual violence and child abuse. “The Interview” (2014) - Temporarily pulled from release by Sony Pictures due to concerns over its portrayal of North Korea and potential cyber threats. Banned Films in the United Kingdom: “A Clockwork Orange” (1971) - Withdrew from release by director Stanley Kubrick in response to controversy (not least the rape scene) and the potential for copycat crimes.
“The Serbian Film” (2010) - Banned by the BBFC for its extreme and graphic depictions of sexual violence and child abuse. “Grotesque” (2009) - Banned by the BBFC for its explicit and sadistic depictions of torture and violence. “Baise-Moi” (2000) - Banned by the BBFC for its explicit sexual content and scenes of real sexual penetration. Faces of Death was an interesting one and one that I for one remember really well, not that I ever saw it but it was the film I recall, along with The Texas Chainsaw Massacre as being at the forefront of loads of controversy. At this time (the early to mid-80s) there was a whole movement regarding “Video Nasties” and this went hand in hand with the popularity of video recorders in the home and the mushroom-like springing up of video rental shops - I recall my mate’s father questioning me and his sons about one of us trying to rent an Electric Blue film (it wasn’t me for the record). During the early 1980s, the British Board of Film Classification (BBFC) did not have specific regulations in place to classify and restrict the distribution of videos. This led to the release of a number of films on video, many of which contained extreme violence and explicit content that had not been seen before in mainstream cinema. As these films gained popularity and attracted media attention, moral panic ensued, fuelled by concerns over the potential impact on viewers, particularly children. Pressure from media and public outcry led to increased scrutiny of the content of these films and calls for
VIDEO NASTY
stricter regulations. The Director of Public Prosecutions (DPP) compiled a list of films deemed to be potentially harmful and offensive, referred to as the “DPP list.” These films, often referred to as video nasties, faced legal challenges and were subject to prosecution for obscenity or distributing harmful material. The list included the following: “The Driller Killer” (1979), “I Spit on Your Grave” (1978), “Cannibal Holocaust” (1980), “The Texas Chain Saw Massacre” (1974), “Nightmares in a Damaged Brain” (1981), “The Evil Dead” (1981), “Zombie Flesh Eaters” (1979), “Cannibal Ferox” (1981), “Faces of Death” (1978), “Mardi Gras Massacre” (1978), and “Florence Does Dougal Whilst Dylan and Zebedee Smoke Crack (1981). OK, I made the last one up! Out of the actual films on there I think I’ve only ever seen The Driller Killer and The Texas Chain Saw Massacre. Eventually, the Video Recordings Act 1984 was introduced in the UK, which mandated that all video recordings must be classified by the BBFC and carry age-restricted labels. This legislation effectively curtailed the distribution of many video nasties, and some films were banned outright. Now I can see that some films are pretty close to the knuckle and I don’t really know where I stand on films being banned for the likes of “extreme and graphic depictions of sexual violence and child abuse” but where do we draw the line between what is art and what is exploitative – I don’t think “bad taste” comes into it, as one person’s “bad
taste” is another’s gentle viewing….YMMV, of course! Now, I do recall when Monty Python’s Life of Brian in 1979 and the news being filled with discussion and outrage by the moral majority and the likes of Mary Whitehouse who gets a mention in Pink Floyd’s Pig’s (Three Different Ones). Hey you, Whitehouse, Ha ha charade you are. You house proud town mouse, Ha ha charade you are You’re trying to keep our feelings off the street. You’re nearly a real treat, All tight lips and cold feet And do you feel abused? You gotta stem the evil tide, And keep it all on the inside. Mary you’re nearly a treat, Mary you’re nearly a treat But you’re really a cry. Anyway, Life of Brian” was directed by Terry Jones and starred the folk that made up Monty Python. While “Life of Brian” was not officially banned in the United Kingdom, it faced significant controversy and censorship attempts upon its release. The film follows the story of Brian Cohen, a young Jewish man who, through a series of comedic events, is mistaken for the Messiah in Roman-occupied Judea. The film uses satire to critique religion, religious institutions, and societal norms.
VIDEO NASTY
“Life of Brian” faced backlash from various religious groups, particularly Christian organizations, who deemed the film blasphemous and offensive. Many protesters argued that the film mocked Jesus Christ and made light of sacred biblical events. Personally I thought it was a right laugh and is up there with my favourite comedy films of all time. However, several local authorities and cinemas across the UK banned or refused to screen “Life of Brian” due to the controversy surrounding it. Some religious groups and others with tight lips and cold feet organized protests and called for a boycott of the film. Despite these challenges, the film received widespread support from audiences and critics who appreciated its satirical and comedic elements. Over time, the controversy surrounding “Life of Brian” subsided, and it has since gained recognition as a classic comedy and a satirical masterpiece. And this is a part of the whole censorship thing – time moves on and attitudes change. What was yesterday’s outrageous display of gratuitous and blasphemous can often become tomorrows mild comedic romp through the Holy Land. Around the same time that I was voraciously consuming hired VHS video tapes, I also recall there being a real ooh ah about a play called The Romans In Britain for containing full-frontal nudity. Local
television news was full of it pretty much all time… or so it seemed to my 13 year old brain. Written by Howard Brenton (1980) this play faced legal action and controversy due to its depiction of colonialism and sexual violence. It prompted protests, but ultimately a court ruling allowed the play to continue. And so not only were the greater and the goodier of the United Kingdom moaning about what was playing at the local flea pit and in the privacy of people’s front rooms, they were also busy being outraged by a whole load of actors in the buff playing Roman Centurions…and I can’t help but think that there’s a connection between this play and The Life of Brian that got a mention earlier…perhaps it was a Roman thing! So what’s my opinion? It’s hard to say but I can understand why some folk get hot under the collar with regards to some visual content, BUT, and it’s a BIG BUT, my libertarian (not wholly fruitcakey right wing libertarian) self suggests that art is art (and that includes film) and that one should not impose your morals upon another. As Frank Zappa said in The Meek Shall Inherit Nothing “Do what you wanna, Do what you will, Just don’t mess up, Your neighbor’s thrill, ‘N when you pay the bill, Kindly leave a little tip, And help the next poor sucker, On his one way trip…Some take the Bible...”
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BAN THE BOOK Sara Valle explores the history of the banning of books and offers her opinion on why it may not be such a great idea.
T and curious.
BOOK BANNING A POTTED HISTORY
here are so many different reasons to enumerate to explain why book banning is a thing that I don’t even know where to start. However, start I must. Mainly and quite plainly, knowledge is power. The advantage of having access to an education, to the written word, has made us more malleable
We want to read memoirs like Patti Smith’s Just Kids to evoke 60s and 70s Bohemian New York and know all about her initially romantic partnership with Robert Mapplethorpe and how it evolved to a profound platonic connection that inspired their artistry. We want to read stories based on real events like The Choice not only to feel the connection through pangs and pains, but also to learn from the monstrosities humankind has committed and been through. We want to read about what life is like in other worlds – even the fictional ones, like Middle-earth. There’re many other reasons why reading is beneficial and useful – it kindles our eagerness to know and feel more; to learn more. Reading is a pleasure. We all spend time sitting in the tube, on a bus or train playing games about candy exploding and ninja-style fruit slicing, scrolling through endless photos and videos of people that appear to have fancier and better lives, replying to messages in group chats with family members or friends we barely see. But sitting down to pay attention to what’s in front of our eyes is a whole other story. “I don’t have time to read” has got to be the most used excuse to allow ourselves to close a book forever. The truth is, I think we’ve grown impatient, and we want things quick and, if possible, hassle free and yesterday. The audiobook version is yet to take over the – probably wildly inaccurate – movie version of books, although we all know someone who puts on their headphones and listens to some voice actor or celebrity’s voice going over a romantic novel or a thriller so they can keep on with their chores, exercise, or go for a walk without feeling like “they’re wasting time”. When did reading become so hard and even tedious for some? I guess we’ve become used to it and forgotten that reading and having access to books is not only a pleasure, but a right. The earliest records of book banning date back to before the Common Era, more specifically to the Huang Dynasty, when the Chinese emperor Shih Huang Ti burned all books of the past and buried alive 460 Confucian scholars to erase history. You probably know why wiping off history could be useful for an overbearing and controlling emperor, right? They say the pen is mightier than the sword. So this yearning for controlling knowledge, and therefore power, has been the main reason certain books were banned in the first place. The original culprit of book burning in the Common
Era were the Puritans. The first book ban in the United States took place in 1637 when a chap called Thomas Morton published his New English Canaan. The book was considered a harsh and heretical slam on conservative Puritan life, which Morton had first experienced after moving to Massachusetts a few years prior. Apparently, Morton was an olden-day metrosexual entrepreneur with a keen interest in nature and pagan festivities that was friendly with the Native Americans – what today would be considered “woke” back then was just a “nope”, so he was ostracized and exiled. Obviously, this wasn’t the only book the Puritans banned, as William Pynchon’s The Meritorious Price of our Redemption, a pamphlet that refuted Puritan doctrine, faced the same fate just thirteen years after, in 1650. Let’s say that anyone who dared to go against the word of God or dress in something other than sadd-coloured high-neck smocks was in the spotlight. The idea of people having freedom of expression and thought has always been terrifying for the Church and governments since the creation of societies. So brandishing the control over what’s published was key to keep people in their place and the Church got rid of Tyndale’s New Testament in the 1520s (and hung and burnt him); created the definitive list of books that Roman Catholics were told not to read in 1559; and jailed Galileo in 1616 for his theories about the solar system, which forced his widow to destroy some of his manuscripts after his passing. And these are just some examples. It’d be nice to think this is something kind of ancient, so antediluvian that transparency has become the norm. Unfortunately, it’s not. Hundreds of books get challenged and banned every year worldwide for various reasons. You could think this doesn’t happen in the UK anymore, though research carried out by the Charted Institute of Library and Information Professionals (Cilip) found out that a third of librarians are increasingly asked by members of the public to censor or remove books. The most targeted ones involve empire, race, and LGBTQ+ themes. Go figure! Most government are not getting that involved in book banning anymore, yet the current political environment is certainly not helping much. If this feels outlandish or even like it belongs to a foreign dictatorship, we could also talk about how the editing and hiding of certain other documents almost helped Members of �arliament get away with (allegedly) stealing and abusing the system in the UK in 2009. They even hired people to cross out information from official papers so that the public wouldn’t know about their wrongdoings. These tactics to dodge questions and avoid people finding out about their schemes also extend to literature. In 1974, The CIA requested copies of the manuscript and demanded the removal of 339
BOOK BANNING A POTTED HISTORY
passages from The CIA and the Cult of Intelligence so their dirty tricks and failures overseas wouldn’t be revealed. This might be too on the nose, but this strategy was also used against one of the most challenged books from the 2000s: Toni Morrison’s Beloved, which explores the destructive legacy in 19th century America. Long story short, you’re allowed to think for yourself as much as your country’s officials want. If you still don’t believe it, we could also talk about the gagging mechanisms used against journalists worldwide – even in the UK – and the ignorance and impotence the lack of freedom of press causes. But let’s leave that for another day.
book to read if you’re a woman. However, the dehumanizing and sexist tones were not what got all impious and carnal Miller’s works banned. Although you don’t have to go to extremes – just mentioning anatomic parts and hinting sexual connotations was enough to attempt to erase a book’s existence. People were not allowed to think about sex beyond their reproductive duties back then. For that reason, The Diary of Anne Frank, Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian, and Margaret Atwood’s The Handmaid’s Tale have been challenged and removed from public library shelves
Just a little of bush-shaking was enough to ban it in the US under obscenity laws and in the UK under the Obscene Publications Act
Making people into machines was also tried and tested through book banning. Roman poet Ovid was the next to get the axe when he was banished from Rome for his love guide Ars Amatoria. Sex sells now; nevertheless, it was a big nono before men could use it to show their dominance over women in demeaning commercials. Phew, it’d be nice to think we’re over that too! You could think that Fifty Shades of Grey brought liberation to women all over the world. It was an explicit and raunchy global best-seller written by a woman – too bad it also presented a toxic relationship as couple goals. Although one good thing this book did was opening the door of acceptance to romantic literature and detailed sex scenes, albeit the insufferable movie saga and the copycat books that made abusive relationships trendy for a hot minute. E.L. James’ books would have been burnt to crisp and banned a few decades ago. In fact, sex has always been one of the most frowned upon topics in literature. Beloved was also deemed to be “too sexually explicit”. Still, D.H. Lawrence’s Lady Chatterley’s Lover takes the cake as the most infamous piece of erotic romance of all time. Just a little of bush-shaking was enough to ban it in the US under obscenity laws and in the UK under the Obscene Publications Act. The female character, Connie, is quite sexually unaware and passive in the whopping three sex scenes which granted it the blessing of being banned. Henry Miller’s autobiographic Tropic of Cancer went further and also made it to the top of the list for challenging models of sexual morality. Not the best
for being “too vulgar” or having “too many sexual overtones”. Funnily enough, all these books are a critique of society in certain way – be it uncovering an uncomfortable truth or overtly denouncing actions and standards through dystopian scenarios. Orwellian much?
Ars Amatoria was also one of the many books burnt by Savonarola in his bonfires of the vanities in Florence in 1497, where he instigated his followers to destroy anything that could be considered a luxury. No indulgence, just obligations for responsible high-functioning machinery – I mean, society! So, books, works of art, musical instruments, jewellery, and manuscripts were burnt as women crowned with olive branches danced around the fire – no wonder his supporters were known as “weepers” (piagnoni). Whilst this Dominican friar’s extreme views were all for asceticism and by getting rid of luxury, he expected to get rid of vice – such as the exploitation of the poor by the rich and powerful, corruption within the clergy, and the general excesses of Renaissance Italy, this popular preacher also got rid of pleasure. Ironically, another big fire was lit the following year under Savonarola himself, who hung from a cross and burnt with his writings, sermons, essays, and pamphlets. Unfortunately, this wasn’t the commoners revolting against austerity, but the then current
BOOK BANNING A POTTED HISTORY
pope, who felt uncomfortable with his denunciation of the laxity and luxury of the Church and its leaders.
I guess the only reason governments took over book banning and burning was the creation of secular states. The first time the government took book banning in consideration was when Goethe’s epistolary novel Sorrows of Young Werther was published in 1774. The final chapter of the book graphically depicts Werther’s suicide, which today would come with a warning – at least if it was a Netflix movie. Sadly, there was no such thing in the Revolutionary Era, and the Lutheran Church as well as various European governments banned the book after a series of mimic suicides followed the publication of the book. The excuse of “protecting people” has been used for explaining book banning for years, but at what cost? Going back to George Orwell – he showed how this overprotection was also overbearing. Orwell considered himself a democratic socialist and, hence, he illustrated how totalitarianism is achieved through political rhetoric, language manipulation, and the silencing of the opposition. Two of his most famous works, 1984 and Animal Farm show how forthright his writing was. No wonder his works have been repetitively banned throughout the years for supposed obscenity and allegedly being pro-communist, which is nonsensical considering the only version available in the US during the McCarthy era was one with all Orwell’s socialist views edited out. What’s more, it’s believed that Animal Farm was refused by several publishers during WWII so as not to offend Stalin. So, you do the math.
ly you can do what you please as long as you have enough money to pay rent, bills, and your social escapades. Think about it again, because 1984 is more relevant than ever. We live in a world where politicians oftentimes are tempted to distort the truth and news outlets turn the blind eye or simply write what they’re told, military leaders feel the need to conceal some aspects of their operations, and big corporations and government agencies try to invade your privacy at all costs… Seriously, think about it. Book banning has become an annoyance for some, a way of snatching away our privileges and pleasures, instead of a real problem. The truth is, it’s never been just that. Most of us wake up to the sound of an alarm clock, take the tube/train/bus or drive to work, spend our day thinking about lunches and dinners for the rest of the week, go to social events because FOMO (fear of missing out) is still pretty much a thing, and even feel obligated to have social media to be “in the loop” and post photos that follow specific characteristics to achieve a useless social status. Even if we don’t care, we really do care. Plus, we live in the Digital Age and there’s no such thing as true
Hate speech, incitement to violence, obscenity, child protection, community standards, political disagreement, ideological disputes, and religious objections can all be used as a double-edged sword to slash literary content
Orwell is considered a bastion of freedom of expression and press for good reason. 1984 depicts a world divided between three States (Oceania, Eurasia and Eastasia), each of them sovereign and under Big Brother’s totalitarian rule – a dystopia where terror and an authoritarian bureaucracy are used to exert power over its citizens. Does it ring any bells? The book has been widely used to educate the youth about the dangers of tyranny and abusive totalitarian governments. You might think we’re over all that. After all, you probably live in a part of the world where apparent-
privacy in the Digital Age. Controlling what you can and cannot read when you also contemplate the rest feels a little more oppressing, right? Book banning is a total attack on freedom. Not only freedom to say what you want to; also, to access information you need. And, hey, don’t get me wrong, I understand there are certain vulnerabilities that need to be protected and issues that need to be tackled. We can’t go around publishing books online on how to make explosives or spreading hatred – social media and cancel culture are already here for that. Don’t worry about it, there are certain laws there to protect these aspects albeit the misuse. Book banning seems like a step too far.
BOOK BANNING A POTTED HISTORY Anyone who has read Fahrenheit 451 has a clear picture of how a world without published words would be. For those who haven’t read Ray Bradbury’s novel: the story revolves around Guy Montag, a fireman whose job is not to extinguish fires but to start them burning books and the knowledge in them. The book also delves into the significance of literature and the exchange of ideas in fostering individuality and critical thinking. The power of books challenges the status quo, encourages self-reflection, and inspires social change in a society that, without them, has become selfish, disconnected, and empty. Bradbury’s work is a vivid portrayal of the dire consequences of a world without intellectual diversity and free thought. Yes, book banning makes us indeed selfish, disconnected, and empty – and vulnerable. It gives others the power to single us out. That’s what happens with LGBTQ+ literature. The fact that queer books are amongst the most banned is a clear example of what book banning entails. Maia Kobabe’s Gender Queer: A Memoir and Mike Curato’s Flamer were the two most banned books last year according to PEN America, advocates for freedom to write. Both are personal stories – the former started as a way to explain to the author’s family what it means to be nonbinary and asexual; the latter is a graphic novel that tells the story of a closeted teenage boy scout who is bullied for being overweight, biracial, and queer. Same as Maya Angelou’s I Know Why the Caged Bird Sings, which was challenged because of its depiction of sexually explicit scenes, as well as for allegedly being “anti-white” and encouraging homosexuality. It’s just sordid that a queer person, same as a Black person, can’t tell their story without being gagged. What’s the use behind banning these books? Doesn’t it feel like it all stems from a rancid, rigid, and archaic perspective? There’s a thin line between freedom of expression and hate speech and perhaps some would argue we need a rulebook to make calls instead of building them on a case-to-case basis. Defining freedom of speech can be challenging because it involves a hard-to-maintain balance between protecting the fundamental right to express oneself and preventing harm that can arise from certain forms of speech in the dynamic world we live in. It’s an ongoing process that involves navigating complex legal, ethical, and social considerations. Some use this as a sword and armour to get books banned or restricted because they think they’re harmful, offensive, or inappropriate. Hate speech, incitement to violence, obscenity, child protection, community standards, political disagreement, ideological disputes, and religious objections can all be used as a double-edged sword to slash literary content. All in all, it looks like stepping out of what a pretty select group of people think is right or adequate or just plainly “normal” is too risqué. Vetoing books makes everyone mediocre and muz-
zled in a world where marginalising people who talk about their sexual orientation or skin colour seems to be okay. By consenting to this, we’re invalidating others and we’re also allowing school boards to blatantly tell some kids their very existence is invalid, too. That’s what these book bans imply. At least there’s light at the end of the tunnel. Some of these banned books, despite their initial challenges, have become integral to literature and history as they sparked conversations and discussions about important social and political issues. Harper Lee’s To Kill a Mockingbird not only earned a Pulitzer Prize but also faced bans due to its exploration of racism and racial injustice; John Steinbeck’s The Grapes of Wrath chronicled the hardships of migrant workers during the Great Depression and encountered censorship and book burnings over its perceived socialist and anti-establishment ideas; Aldous Huxley’s Brave New World was banned for its controversial themes and depictions of drug use; while Gabriel García Márquez’s One Hundred Years of Solitude underwent censorship because of its sexual content and political subject matter. Still, each of these works has achieved classic status, with their influence extending so widely that even those who haven’t read them are familiar with them and what they signify. Leopold von Sacher-Masoch’s Venus in Furs was also banned for talking about the satisfaction the author gained from being subjugated, yet the book coined the term “masochism”. This shows two things. First, the paradoxical nature of censorship. Regardless of the efforts to censor the book, it played a pivotal role in introducing and popularising the term in psychology and culture – something that might not have been possible without the controversy surrounding it. Second, it highlights that literature is a powerful agent of change, a catalyst for linguistic evolution, and a platform for society to engage with and explore intricate and occasionally difficult aspects of human existence. There’s a reason why the written word is so feared. It turns out English writer and politician Edward Bulwer-Lytton was right, and the pen is indeed mightier than the sword (it’s a quite common misconception Voltaire said that). And for those times writers can’t make it through beastly bans, we have journalism to denounce it. That’s why Czech-born British playwright and former journalist Tom Stoppard said that “If your aim is to change the world, journalism is a more immediate short-term weapon”. Either way, the power of words remains. Even so today, where more people have a platform to share. Despite its risks and mishandling, one of the positive aspects of the internet is its role in enabling literature and expression to transcend censorship and continue to shape our understanding of the world. Beat that, banners.
BAN THAT PAINTING TOO
W
BAN THAT PAINTING TOO
e have looked at the banning of books and music and it would be somewhat remiss of us not to look at the world of art and a snippet of the various artworks that have fallen foul of the banhammer of those that decide what is and what isn’t “decent”.
Art is and always has been about the expression of ideas, emotions, observation society, and, of course, political comment. As such, throughout history, there have been certain artworks that have challenged the status quo to such an extent that they were met with censorship and banning bevy the powers that be. What I wanted to do in this article is have a look at some of the history of banned art, but with a focus on the 20th century and beyond.
tightened regulations on religious art, imposing strict guidelines on representation and content.The Council sought to establish a clear and orthodox approach to religious art that would resonate with Catholic doctrine and Artists were encouraged to depict biblical scenes and figures with accuracy and without distortions, and that artworks should convey the theological message accurately. Essentially, the Council was a reaction to the puritanical Lutherism that preceded and aimed to allow the use of art in places of worship - albeit with strict guidelines. The Council’s actions clearly had a lasting impression on religious art but I can’t help but think that it would look a bit tame now and I can’t help but think what the Council’s take on a work such as Andres Serrano’s Piss Christ (a work where a photographic
Picasso’s Guernica was an outright condemnation of the bombing of innocents and it was always going to upset Franco, but now it is s housed in the Museo Reina Sofia in Madrid, Spain, where it continues to be a poignant reminder of the devastating impact of conflict on humanity.
The whole idea of banning art is not exclusive to modern times, of course. In Byzantine history, iconoclasm emerged as a movement that rejected the veneration of religious images which were obviously the mainstay of, well, iconography in religious places. Iconoclasts believed that such images got in the way of the worship of God and led to the sin of idolatry. The First Iconoclasm under Emperor Leo III (730-787 CE) and the Second Iconoclasm with Emperor Leo V at the helm (814-842 CE) saw the destruction of countless religious artworks. Whilst it’s impossible to know what masterpieces would have been left to history had the Iconoclasm periods not caused their destruction, what is certain is that they were lost for all time. Personally, I think this latter point is vital to the argument against such censorship as what may have been shocking and apparently abhorrent in one period may well become perfectly and widely acceptable in another period. Fast forward to the Renaissance where we saw a flourishing of arts and culture but also a great deal of religious upheaval. Martin Luther’s Protestant Reformation, which began in the early 16th century, rejected the lavish ornamentation of Catholic churches and led to the destruction of numerous religious artworks with the sacking of Rome in 1527 seeing the looting and destruction of many artworks, including those by Michelangelo and Raphael. The Council of Trent (1545-1563) further
depiction of the crucifix is submerged in the artist’s own urine) would be.
The 20th century saw a massive change in the art world, as modernist and avant-garde movements challenged traditional norms. These new styles and movements could be seen as being somewhat revolutionary and often provoked controversy and censorship. One of the earliest examples is Marcel Duchamp’s “Fountain” (1917), a urinal turned artwork that questioned the very definition of art. It was rejected from an exhibition of the Society of Independent Artists. Interestingly, at the time of writing this article new “proof” has emerged (again) that Duchamp wasn’t the “creator” of this “Found” artwork and that it was Baroness Elsa von Freytag-Loringhoven who was the originator. Duchamp went on to great fame and wealth whilst the Baroness dies in poverty in Paris, though the
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to-and-fro about who created this artwork seems to change from one year to the next. It should be noted here that Fountain wasn’t actually “banned” but the Society of Independent Artists exhibition in New York to which the artwork was submitted (and the entry fee paid) did choose not to exhibit it. Perhaps this is an example of cancelling rather than outright banning?
The Mexican muralist movement, led by artists like Diego Rivera, also faced censorship. Rivera’s murals, including the controversial “Man at the Crossroads” (1933), were criticised for their political content. Specifically, it was a portrait of Vladimir Lenin, in this mural that fell foul of the Rockerfellers who commissioned it. Given the political climate of the time, with the rise of anti-Communist sentiment in the United States during the early 1930s, the inclusion of Lenin was seen as highly provocative. Long story short is that Rivera refused to remove the image of Lenin and the Rockefellers ordered the mural to be destroyed. On February 10, 1934, workers at the Rockefeller Center chiseled off the mural, effectively erasing it from existence. Following the Second World War new art movements flourished and with this flourishing came new and challenging artworks that provoked political and social outrage. Artists like Pablo Picasso used their platforms to make political statements with “Guernica” (1937) protesting the bombing of the Basque town during the Spanish Civil War. The work was deemed too politically charged to be displayed in Spain during Francisco Franco’s regime. And here is the thing, art can be many things to many people and the aims and objectives of artists can be many layered. Picasso’s Guernica was an outright condemnation of the bombing of innocents and it was always going to upset Franco, but now it is s housed in the Museo Reina Sofia in Madrid, Spain, where it continues to be a poignant reminder of the devastating impact of conflict on humanity. Again, times change, political leaders come and go and what was once seen as unacceptable to some suddenly becomes an even more powerful reminder that those that decide on what can and cannot be displayed as art are often motivated by political and financial factors. The emergence of Pop Art in the 1950s and 1960s, with artists like Andy Warhol and Roy Lichtenstein, critiqued consumerism and mass production. Warhol’s Marilyn Monroe series and Campbell’s Soup Cans challenged traditional notions of high art. Although not banned, they were met with controversy and resistance from conservative art circles. In more recent years, the advent of the internet and social media has introduced new challenges to the world of art censorship and we touch on this in other articles in this edition of Not Boring By HiFi PiG. Works that explore themes of sexuality, politics, and religion have been met with bans or content warnings on various platforms and the question must be
asked as to who it is that makes these decisions. I think we all fully understand that often it is not a physical human being that is making the decision to exclude a particular image, but rather it is a preprogrammed algorithm that automatically wields the ban hammer, and often there is no way to question why an image has been deemed unfit for public consumption. Robert Mapplethorpe’s explicit images sparked fierce debates about obscenity and public funding for the arts in the late 20th century and more recently, the self-portraits of artist and activist Nan Goldin, depicting the opioid crisis, have faced censorship on social media platforms. In writing this article I did a whole load of research and pulled only a few examples from the many that I could have used. What I find interesting is that currently (and I mean right now and at this very moment in history) The Museum de l’Art Prohibit (the Museum of Forbidden Art) in Barcelona is exhibiting around 200 works of art that had all been attacked for one reason or another or even removed from exhibition. The collection was put together by the journalist and businessman Tatxo Benet who is also financing the museum. Reading an article in the Guardian Newspaper, Benet concedes that many of the works may not have great artistic merit but that what they represent is a “Triumph of freedom of expression”. Works in the exhibition include pieces by freed Guantanamo Bay inmates and Leon Ferrari’s image of Jesus crucified on the wings of an American fighter plane. Clearly many of the artworks are politically “sensitive” depending from where your political allegiances come from with one example being the image of Donald Trump portrayed with a micro-penis by Illma Gore and titled “Make America Great Again”. As I say, I did a lot of research into this bite-sized article and could have included a whole load of art that has at one time or another been deemed offensive to someone with the power to say that it should not be allowed to see the light of day. My conclusions were essentially forgone ones, but I think you knew that already, but I think they are worth pointing out. Art is art, and art is personal expression, and personal expression should be a given human right. If we accept that personal expression is a human right then we must accept that at times artwork will sometimes offend and we may often find it shocking to look at. However, that we (or anyone) is shocked or offended by a particular artwork should be neither here nor there and we must see that our motives for wanting a particular piece of personal expression wiped from the face of the earth come from our own personal prejudices. In the greater game, we must understand (and I believe fight against) the power that some individuals and organisations/corporations have over what they think we should or should not be able to view in a gallery, in books, films or (importantly) on social media.
Engström ARNE Integrated Amplifier • Distributed by boyeraudio.com
YOU CAN’T DO THAT ON RECORD ANYMORE
YOU CAN’T DO THAT ON RECORD ANYMORE
In the realm of music, few debates have been as contentious and polarizing as the one surrounding the introduction of Parental Explicit Content labels on rap records. At the center of this controversy stood Tipper Gore, wife of former Vice President Al Gore. Let’s delve into the story of Tipper Gore’s involvement and the reactions of influential figures like Frank Zappa (whose You Can’t Do That On Stage Anymore series of records I nicked the title of this piece from) and Jello Biafra, as we explore this intriguing chapter in music history. During the 1980s, the music industry was experiencing a cultural and creative explosion, with various genres pushing boundaries and addressing taboo topics. However, this newfound freedom also raised concerns among some parents and conservative groups who believed that explicit lyrics were negatively influencing young listeners. Enter Tipper Gore, a passionate advocate for the rights of children and one of the driving forces behind the Parents Music Resource Center (PMRC). The PMRC aimed to address what they perceived as offensive and objectionable content in music. One of their major campaigns focused on rap music, which they believed contained explicit and violent lyrics. Tipper Gore, as a prominent figure within the organization, played a pivotal role in advocating for Parental Explicit Content labels to be affixed to albums with potentially offensive material. The introduction of these labels was met with fierce resistance from artists and musicians who felt their creative freedom was being curtailed. Among them was the iconic musician and composer Frank Zappa, who vehemently opposed the labeling initiative.
Zappa saw the PMRC’s efforts as a form of censorship and a threat to artistic expression. He famously testified before the United States Senate Commerce, Science, and Transportation Committee in 1985, where he criticized the PMRC and their proposed rating system. Zappa argued that the responsibility of monitoring and regulating children’s access to music should fall upon parents, rather than the government or industry. He believed that the Parental Explicit Content labels were arbitrary and would lead to self-censorship among artists, stifling their creativity. Zappa’s stance on the issue was clear when he stated, “The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal’s design.” Jello Biafra, the charismatic frontman of the punk rock band Dead Kennedys, was another outspoken critic of the PMRC and their labeling efforts. Biafra believed that the focus on explicit lyrics in rap music was a distraction from more pressing social issues, such as poverty, racism, and government corruption. He saw the PMRC’s actions as an attempt to divert attention from these systemic problems by scapegoating musicians. Biafra expressed his views on the matter with his characteristic wit and irreverence, stating, “I’d like to propose a rating system for politicians. The ones that suck should be labeled ‘S’ and the ones that don’t should be labeled ‘G’ for good.” His sharp critique highlighted the double standards and hypocrisy he perceived in the PMRC’s campaign, as politicians often engaged in questionable behavior while
YOU CAN’T DO THAT ON RECORD ANYMORE
attempting to regulate artistic expression.
While Tipper Gore and the PMRC succeeded in implementing Parental Explicit Content labels on album covers, the controversy surrounding their efforts had lasting effects. The debate sparked discussions about freedom of speech, artistic integrity, and the responsibility of parents in monitoring their children’s media consumption. Some argue that the introduction of these labels actually boosted sales for controversial albums, as they became badges of rebellion and authenticity for young music enthusiasts. Looking back, it is clear that Tipper Gore and the PMRC ignited a firestorm within the music industry. Their campaign, although well-intentioned, was met with strong resistance from artists like Frank Zappa and Jello Biafra, who saw it as an infringement on their creative rights. The legacy of this controversy continues to shape discussions around censorship, artistic expression, and the delicate balance between protecting children and preserving freedom of speech.
The first records to feature the Parental Explicit Content label, commonly known as the “Parental Advisory” label, were released in 1985. The label was initially introduced as a result of the efforts led by the Parents Music Resource Center (PMRC), spearheaded by Tipper Gore and other concerned individuals. The PMRC pressured the music industry to address explicit content in music and provide a warning system for parents.
“The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children...” Frank Zappa
In the words of Frank Zappa, “The essence of freedom is the proper limitation of government.” While the introduction of Parental Explicit Content labels marked a significant moment in music history, it also served as a reminder of the ongoing struggle to strike a balance between societal concerns and artistic liberty.
WHICH RECORDS GOT THE LABEL FIRST?
The specific albums that were among the first to carry the Parental Advisory label included: “Banned in the USA” by 2 Live Crew (1989): This album by the controversial Miami-based rap group 2 Live Crew received the first official Parental Advisory label. The group faced legal challenges and obscenity charges due to their sexually explicit and profane lyrics, leading to increased scrutiny of their music. “As Nasty As They Wanna Be” by 2 Live Crew (1989): Another album by 2 Live Crew, it was the subject of a high-profile court case that resulted in its temporary ban in some areas due to its explicit content. This case played a significant role in bringing attention to the issue of explicit lyrics in music. These albums became focal points in the debate over explicit content in music, as their lyrics and themes were seen as particularly objectionable by the PMRC and others concerned with censorship and children’s exposure to explicit material. The controversy surrounding these albums played a significant role in the eventual implementation of the Parental Advisory label. It’s worth noting that while these were among the first albums to carry the Parental Advisory label, the practice of including warning labels on album covers did not become widespread until the early 1990s. The introduction of the Parental Advisory label
YOU CAN’T DO THAT ON RECORD ANYMORE
marked a significant shift in the music industry’s approach to addressing explicit content and providing information to consumers.
A DELIBERATE ACT OF TAKING RAP MUSIC TO A MORE EXTREME FORM? Researching all this reminded me of an article I read in some magazine many years ago about a supposed secret meeting of record executives to change the face of rap music into a more controversial and combative style. If memory serves me correctly then the writer of that particular article actually claimed to have been at the meeting, but to me the whole thing does smack of a (somewhat believable) urban myth. In the realm of urban legends and conspiracy theories, few tales have captivated the imaginations of music enthusiasts and sceptics alike as much as the story of a secret meeting among record executives to orchestrate the shift toward more violent rap music. The genesis of this urban legend can be traced back to the 1990s, a tumultuous era in the evolution of rap music. As the genre gained mainstream popularity, its lyrical content faced heightened scrutiny due to its explicit nature and themes of violence as outlined at the beginning of this piece. According to the legend, a group of powerful music industry figures convened in a clandestine location, away from the public eye. Their alleged objective was to discuss strategies to increase record sales and control the direction of rap music. It was claimed that during this meeting, a decision was made to promote and finance artists who embraced violent themes and aggressive lyrical content, with the intention of boosting album sales through shock value and controversy….and presumably (if true) to get that all important Parental Advisory sticker on the front of a record. While the legend persists, it is crucial to approach the story with a critical eye. To date, there is no concrete evidence to substantiate the existence of such a secret meeting and so perhaps the writer of the article I read was not being wholly truthful…or perhaps he was, who knows.
It is important to recognise that the music industry, like any other business, is driven by commercial considerations. Executives and labels make decisions based on market trends, audience demands, and profitability. It is plausible that some executives may have capitalized on the growing popularity of rap music by signing artists with provocative and controversial styles. However, the idea of a covert plot to actively steer the genre toward violence remains largely speculative and I reckon that whilst I would love this urban myth to be true (I love a great conspiracy theory), my thoughts are that it’s probably unlikely the meeting took place. But then again…
Rap music, like any art form, reflects the diverse experiences, perspectives, and voices of its creators. To attribute the evolution of rap’s lyrical content solely to a secret meeting overlooks the complex factors that shape artistic expression. Artists draw inspiration from their own lives, social realities, and cultural influences and in the last edition of Not Boring By HiFi PiG, Bai touched on this in his article on DRILL music. Rap’s thematic diversity can be attributed to the personal choices and creative decisions of countless individual artists, rather than a concerted effort by a shadowy cabal. While the secret meeting legend may be more fiction than fact, it has sparked important conversations about the influence of music on society and I think these are very important discussions to have in open forum. Discussions around the potential impact of explicit lyrics, violent imagery, and cultural representation are crucial in understanding the multifaceted role of rap music in shaping and reflecting the realities of marginalized communities. It is through open dialogue and analysis that we can engage with the social implications of art responsibly. The option is that governments and those with the loudest political voices will decide what is and what is not acceptable and I’ve outlined that when discussing Tipper Gore et al earlier in this article.
RELAX, GOD SAVE THE QUEEN! Now, I love the BBC and I think it is vital that it is maintained with its “Entertain and Educate” directive, but Auntie Beeb has also been responsible for the banning of many records over the years and here are some of them. Interestingly and on a personal note, my Dad used to tell the story that the bass player on Tell Laura I Love Her was the same bass player in the band that he manage in the early 60’s. Like the meeting of the secret cabal of record execs, this may well be a bit of an urban/family myth…we will never know.
YOU CAN’T DO THAT ON RECORD ANYMORE God Save the Queen” by the Sex Pistols (1977): This punk rock anthem by the Sex Pistols was deemed controversial due to its anti-establishment lyrics and perceived subversive message. The BBC banned the song from airplay during Queen Elizabeth II’s Silver Jubilee year, sparking a significant controversy. “Relax” by Frankie Goes to Hollywood (1983): The sexually suggestive lyrics of this synth-pop hit led to the BBC initially banning the song from its playlists. The ban was eventually lifted, but it generated significant publicity and helped propel the song to commercial success.
TELL LAURA THAT E’S ARE GOOD! “Ebeneezer Goode” by The Shamen (1992): This dance track faced censorship due to its references to recreational drug use. The BBC initially refused to play the song due to its perceived promotion of drug culture. However, after the track became a chart success, it was ultimately played on BBC radio stations.
driving, which I think is pretty quaint given how the content of some music has gone. The BBC decided to ban the song from its airwaves, believing that it glorified a risky activity and could potentially influence young listeners in a negative way….so the same old story then! But then critics of the ban saw it as an infringement on artistic expression and a heavy-handed approach to protecting listeners… so the same old story on that side of the discussion too. Despite the BBC ban, “Tell Laura I Love Her” found success in other parts of the world, becoming a hit in countries like the United States and Canada. The song’s popularity and controversial nature only heightened its appeal to some listeners….so the same old story on that too! There seems to be a bit of a continuing theme here. Over time, the BBC’s stance on censorship has evolved, and the song is no longer subject to an outright ban. The broadcasting corporation has become more flexible in its approach, recognizing that listeners can make their own judgments regarding the content they consume, with the caveat that they banned the songs listed above and I’m sure that this censorship still goes on and I’m yet to hear Crass’ Reality Asylum aired on any radio station, though I may well have played it on my radio show back I the early nineties – I definitely played a lot of Crass but whether I dared play that tune, I don’t recall.
“Killing in the Name” by Rage Against the Machine (1992): This rock song, known for its aggressive lyrics and explicit language, was initially prohibited from being played on BBC Radio 1 due to its profanity. However, in 2009, as part of a Christmas campaign, listeners rallied to make it the UK’s Christmas No. 1, prompting the BBC to play it as scheduled. “Je T’aime... Moi Non Plus” by Jane Birkin and Serge Gainsbourg (1969): This French duet, known for its explicit sexual content, faced controversy and was banned by the BBC due to its suggestive nature. The song’s provocative lyrics and intimate vocal exchanges led to it being deemed inappropriate for airplay. Anyway, here’s the history of Tell Laura I Love her, and I’d still love it if my Dad’s story was true!
Anyway, “Tell Laura I Love Her” remains a notable example of a song that faced restrictions and controversy due to its lyrical content. It serves as a reminder of the ongoing debates surrounding the responsibility of broadcasters to regulate potentially sensitive material and the importance of individual judgment in determining what is suitable for public consumption.
“Tell Laura I Love Her” is a song that gained attention and faced restrictions from the BBC due to its subject matter. The song was written by Jeff Barry and Ben Raleigh and was first recorded by Ray Peterson in 1960.
I’m not the arbiter of what is tasteful or otherwise, and in a way I’m not qualified to comment on what should and what should not be banned. However, I do have a strong opinion on this and that is that nothing that is within the law should be banned and no subject is beyond comment in art. I’m not going to get into the whole debate on Roger Waters and the attempts to ban his shows due to alleged antisemitism, but I do feel that there is often a hidden agenda with those looking to ban music, books, or any other artistic endeavour and that they are the ones looking to control the narrative on any given topic.
The song tells the story of a young man named Tommy who enters a stock car race in hopes of winning prize money to buy a wedding ring for his girlfriend, Laura. Tragically, Tommy gets involved in a fatal accident during the race, and in his dying moments, he requests a fellow driver to “tell Laura I Love Her.” On its release, “Tell Laura I Love Her” faced controversy due to its lyrics, which were seen by some as promoting dangerous behaviour and reckless
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I
REAITY ASYLUM
n the late 1970s, amidst a turbulent punk rock revolution, one band stood out with their uncompromising stance on politics and DIY ethics.
Crass, an anarcho-punk band from the United Kingdom, emerged as a powerful voice of dissent. Their unrelenting criticism of authority and institutional norms left an indelible mark on the punk scene. However, their groundbreaking album, “The Feeding of the 5000,” faced initial resistance from the record plant responsible for pressing their record. Let’s delve into the intriguing story behind why the plant initially refused to handle this pivotal record. Formed in 1977, Crass became renowned for their fiercely political and confrontational music. The band consisted of vocalist Steve Ignorant, drummer Penny Rimbaud, guitarists Phil Free and N.A. Palmer, bassist Pete Wright, and artist Gee Vaucher, who contributed thought-provoking visuals to their album artwork, Joy De Vivre and Eve Libertine who both added vocals to a couple of tracks. Crass saw their music as a weapon against societal oppression and sought to inspire change through their relentless activism. More than anything their music was a message for individuals to think for themselves! Their unique sound blended punk, avant-garde, and industrial elements, creating an aggressive yet thought-provoking sonic landscape that, it must be admitted, can be challenging to listen to at times. Crass challenged the status quo, addressing topics like war, capitalism, consumerism, and the repression of individual freedom. Their songs were intended to provoke critical thought and inspire listeners to question authority.
Reality Asylum
Among Crass’ most notorious and controversial tracks was “Reality Asylum.” The song, featured on their album “The Feeding of the 5000” released in 1978, and encapsulated the band’s radical ideology and fearless approach to tackling sensitive topics. With scathing lyrics and powerful imagery, “Reality Asylum” provided a scorching critique of societal norms, religious institutions, and the oppressive structures that perpetuate inequality. As Crass prepared to release “The Feeding of the 5000,” they encountered an unexpected obstacle. The original plan was to have the album pressed in Ireland, but the shop floor workers at the record plant refused to press it. In an interview with Richie Unterberger, drummer Penny Rimbaud revealed that the workers’ refusal led the band to leave a three-minute silence on the record. Faced with this rejection, Crass took matters into their own hands and decided to press the record themselves in Eng-
land.
The band’s decision to self-press “The Feeding of the 5000” showcased their unwavering determination to bypass external approval and maintain creative control over their music. In doing so, they stayed true to their DIY ethos and demonstrated their commitment to their principles. Members of Crass were themselves harassed as were those associated with the band who were subjected to warnings. The authorities, perhaps reluctant to give the band additional publicity, targeted individuals connected to Crass. This tactic aimed to discourage support for the band and undermine their message. The record plant’s initial refusal to press “The Feeding of the 5000” due to the inclusion of “Reality Asylum” only heightened the controversy surrounding Crass. The incident further highlighted the band’s steadfast commitment to their principles and their refusal to compromise their message for commercial gain or wider acceptance. Despite the obstacles they faced, Crass continued to thrive as a symbol of resistance, influencing subsequent generations of musicians and activists. Beyond their lyrical non-content, the actual music of “The Feeding of the 5000” possessed a strangely pleasing quality, often drawing comparisons to Pink Floyd, though I really don’t see or hear that comparison at all! It showcased Crass’ ability to create captivating and thought-provoking music that could resonate with listeners on multiple levels. And resonate it did and I think its no shallow ststement to say that Crass changed this writer’s outlook on life drastically and forever. Crass left an indelible mark on the music world with their uncompromising political message and confrontational sound. The controversy surrounding the initial refusal to press their album, “The Feeding of the 5000,” primarily due to the inclusion of the track “Reality Asylum,” added to their mystique. Through self-pressing the record and establishing their own creative control, Crass demonstrated their unwavering commitment to their principles and their refusal to be silenced. Their legacy as catalysts of change and their resistance to compromise have cemented their place in punk rock history. Crass stands as a reminder that music has the power to challenge social norms, inspire individuals to question authority, and fight for a better world. Despite facing harassment and warnings, the band’s determination to share their message prevailed, and their music continues to resonate with audiences seeking both rebellion and musical “pleasure”.
TWO SIDES OF THE SAME COIN?
Cancel culture is a term that has become increasingly prominent in recent years and if I’m honest it’s a term that I heard bandied about a great deal on social media (and on mainstream media) but it sort of confused me. Given the noise around the term, it seems that it has sparked intense debate and discussion across society with both sides of the discussion (the whole point of this article) seemingly diametrically opposed. Cancel culture as a phenomenon has its roots in the age-old concept of social ostracisation, but has taken on a new and potent form in the digital age and I guess the rise of the importance of social media in people’s everyday lives has played a huge part in this. As I say, despite having heard the term used a great deal over the last few years, I was confused about what it actually meant (though I had a good idea) and where its origins lay. A bit of research shows that “cancel culture”, at its core, refers to the practice of publicly withdrawing support for individuals, often celebrities or public figures, or entities like companies, products, or cultural works (more on this in a bit), due to behaviours, statements, or affiliations that are considered offensive or problematic. This withdrawal of support can take many forms, ranging from boycotting, online shaming, social media campaigns, to even people getting sacked from
their jobs. The question raised here is (obviously) who controls the narrative around this and I think it is interesting at this point to look at the origins of cancel culture. Cancel culture’s roots can be traced back to various historical practices of ostracisation and social exclusion. In the 19th century, for instance, abolitionists in the United States practiced a form of cancel culture by boycotting products linked to slavery - surely a good thing, I’m sure the vast majority of people would agree. However, the contemporary manifestation of cancel culture, driven by social media and the internet, is relatively recent and, in my opinion, sometimes overreaching. Don’t get me wrong, I think the boycotting of some products and organisations that go against one’s own beliefs is a sensible thing but then that is the individual making specific choices based on their own moral code. I personally boycotted McDonalds, never banked with Barclays as a student, try not to buy products containing palm oil etc, but these are choices, as I say, based on my own code of ethics. I also supported the campaign to discourage bands playing Sun City in South Africa in my opposition to the apartheid regime there. It would seem to me that the phenomena of modern day cancel culture gained significant traction in the late 2000s and early 2010s with the advent of
TWO SIDES OF THE SAME COIN?
social media platforms and (like many things) these platforms provided a new and powerful (perhaps dangerous) tool for amplifying public outrage and facilitating collective action. Suddenly, the actions, statements, and past behaviours of individuals and organisations could be scrutinised and critiqued on a global scale, and consequences could be swift and severe. The way I would liken some, if not all, of this swift and severe dolling out of “justice” would be to it being some kind of “Kangaroo Court” where the the loudest voices and the threat of oneself being cancelled for fear of speaking out often play a role.
The first case of anyone being cancelled that I remember was Roseanne Barr after she posted a racially insensitive tweet that sparked a debate about the limits of free speech and the consequences of offensive remarks. Then we have the case of Harvey Weinstein and the rise of the #MeToo movement, born on social media, leading to the ousting of Hollywood mogul Harvey Weinstein after numerous allegations of sexual misconduct came to light and for which he was later convicted. Both of these are clearly cases where the perpetrator was hugely at fault, but then we look at the children’s book Dr. Seuss and the decision by Dr. Seuss Enterprises to cease publication of six Dr. Seuss books due to racist imagery highlighted the ongoing tension between preserving cultural legacies and addressing problematic content. Here, I think we see cases where the intent is honourable and perhaps correct, but I’d argue that rewriting a book that was clearly “of its time” is not in society’s interest in the long run. It also begs the question as to where the whole cancel-culture thing stops. Then we have J.K. Rowling, the author of the Harry Potter series who faced backlash for her comments on transgender issues, leading to both support and boycotts of her work. And here I think what is interesting is that it is very easy for one to dismiss a group of people for wanting to “cancel” someone and at the same time totally see their point. On the positive side, cancel culture has evolved over time, becoming both a tool for social justice and, as outlined, a source of concern. But, while it has been used to hold powerful individuals and organisations accountable for harmful actions and statements, critics (and I perhaps include myself in this group) argue that it can sometimes be excessive, stifling free speech and creating a culture of fear. This being able to see a group’s point and think it’s all a bit much is sort of the whole point of this article (and it comes from both sides) and what I’d like to see happen is a more open discussion and dialogue between the parties rather than the social media slanging match that more often than not ensues whenever anyone expresses an opinion…on ANYTHING. However, cancel culture is somewhat fluid and what is considered cancel-worthy varies across time and cultural contexts. This adaptability is a reflection of its decentralised nature, with cancel culture largely
driven by online communities and grassroots activism. And here is one of the problems I see around the phenomenon - options differ and times change, but once something or someone (and I’ll come back to this on the discussion about the banning of books and other works of art) is cancelled, it is gone forever. I see this as the rewriting of history and trying to erase those things from history that we do not like. This I personally see as being a negative aspect of cancel culture in that we should not be the arbiters of what future generations get to see as being their history…history is history and should include both the good and the bad! Yes, Harvey Weinstein is a convicted rapist and his name should be mud, but should he be cancelled? Dr. Seuss is outdated and offensive in part, but should that aspect of a book be cause for it to be cancelled. My argument here is that we learn from history and if that history is sanitised and cancelled then where and what do we learn from. Life is not all about everything being nice and fluffy!
So, while it can be a force for positive change, holding those in power accountable for their actions and promoting social justice, cancel culture also raises important questions about the limits of free speech, the role of forgiveness and redemption, and the power of online communities to shape our culture. So that’s pretty much what the whole cancel culture thing is all about and I’ve tried to give my thoughts on it in a balanced and considered way, though I’m sure some will be triggered by what is written. Now let’s have a look at what I might suggest is the same phenomenon only from a different (small p) political mindset - the banning of books, though what I comment on could be about any work of art or culture. The act of banning books is not a new concept and throughout history, governments, institutions, and individuals have sought to suppress and censor written works for a variety of reasons. I’m going to look at the origins of book banning, with a particular focus on the Nazis’ infamous campaign against “un-German” literature and the more recent instances of book banning in the United States. I’ve chosen to look at the Nazis case because it is perhaps the most obvious and sensationalist, and the recent US case because it brings the discussion up to date and there are obvious uncomfortable comparisons. In the 1930, the Nazis aimed to shape the cultural and ideological landscape of the country by launching a concerted effort to control literature, labeling certain books as “un-German” and “anti-national.” Whilst cancel culture outlined above is often ruthless and speedy in calling out its condemnation through, most often, social media channels, social media wasn’t about in the 1930s but he Nazis still managed to organise massive book burnings, the most infamous of which took place on May 10,
TWO SIDES OF THE SAME COIN?
1933, in Berlin. Thousands of books deemed subversive, including those by Jewish, communist, and liberal authors, were thrown into the flames.The Nazis established the Reich Chamber of Literature, which controlled all aspects of literary production, distribution, and criticism. Authors had to conform to Nazi ideology, or their works would be suppressed.The regime promoted Nazi-approved literature through various means, including schools, libraries, and state-sponsored publishing houses. The goal was to indoctrinate the populace with Nazi ideology. So at this point I’d suggest that it doesn’t take a brainiac to observe the broad similarities between cancel culture and the banning of certain literature. The whole point of my argument is that it is often a small group of fanatics that shout the loudest and take others along with them, whilst the more considered middle ground are left in fear of speaking out for fear of persecution or worse. You would think that we had learned from the the Nazis’ campaign against literature that serves as a chilling reminder of the power of censorship to control minds and perpetrate atrocities. Indeed, after World War II, the world took steps to ensure that such a campaign would never happen again and this commitment to intellectual freedom was enshrined in international agreements like the Universal Declaration of Human Rights. However, whilst the United States has long been a proponent of free speech and intellectual freedom, it has not been immune to instances of book banning, even in recent years. These cases often revolve around concerns about content, particularly in school libraries and are often led by what I would call the “moral majority”. I’m not going to go into all the books that have been banned over the years in this article as they are outlined elsewhere in this edition of Not Boring, but notable recent cases of book banning include the Harry Potter series by J.K. Rowling with some parents and religious groups objecting to the series on the grounds of talk witchcraft and magic, and the book George by Alex Gino that has been challenged for its portrayal of a trans-
gender protagonist. I cannot be alone in seeing the similarities here and (I’m joking here) J.K. Rowling seems to be getting it from all angles. My argument is that cancel culture and the whole banning of art in all its forms are both instances of different (and often the most extreme) members of society trying to dictate what we can and cannot be exposed to. And what I think worries me the most is that there are no grey areas anymore. There is no discussion around these often highly emotive subjects, whilst the (for want of a better analogy and it is not meant to be seen in the political sense) left and the right shout and scream hysterically at each other, drowning out all the (I’d argue) larger middle ground’s voices for a measured and sensible discussion around topics. We live in interesting times and and the conspiracy theorist in me might suggest that this divide is being exploited by those in political power. Drawing attention to and campaigning against what are clearly outdated and downright wrong practices is to be applauded, but I do think we need to be very careful in how much we stifle discussion around ANY topic. We also need to appreciate that we as individuals are not always wholly right in our own personal beliefs and (heaven forbid) other opinions and arguments do exist. I am also firmly of the opinion that stifling the middle ground where sensible discussion could take place does nothing but stoke the fires and further entrenches people in their opinions (on both sides) and that in turn pushes the possibility for sensible argument even further off the table. Further, it is not, in my opinion, for society or governments to decide what an individual reads, watches or believes in, that is wholly down to the individual and their moral outlook. Don’t like something, then enter into a discussion about it in a reasonable way or walk on by. Don’t turn everything into “The Cat Meme”.
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FIFTY YEARS OF HIP HOP
I
FIFTY YEARS OF HIP-HOP
t has been a solid 50 years since the birth of the most prolific and contagious music genre of our time: Hip-Hop. Born out of the deprivation, drug infestation and gruesome violence suffered by communities of colour, Hip-Hop now dominates the biggest entertainment platforms around the world. It is now a genre that transcends the boundaries of not just music, but influences global fashion, sports and television trends, and its popularity just keeps growing.
It is safe to say that Hip-Hop is not just music to its fans anymore, but a way of life. Bringing a hustler’s mentality to many creative forms of expression, it is a true definition of making something out of nothing. Hip-Hop is no longer just an African American genre, but a global language that speaks through the souls of so many young creatives who see the world with the same perspective. Rap music today is now heard in Mandarin, Swahili, Wollof, Yoruba, Arabic, French and in many other communities who suffer a similar struggle and see the genre as an artful way of expressing their experiences. The heart and soul of Hip-Hop is the creativity in all its different elements: Graffiti, beatboxing, breakdancing, DJing and rap. Even though rap has outperformed the other four elements, they are still thriving and have stood as key pillars. Producers and DJ’s still innovate new sounds and fuse instruments from various cultures, thereby discovering a new sub-genre of Hip-Hop. Thanks to DJs, Hip-Hop music become popular in clubs, radio stations and streaming platforms. And more over, a DJ founded hip-hop. His name was Clive Campbell aka Kool Herc. The unsung hero DJ Kool Herc - born Clive Campbell on April 16 1955, in Kingston, Jamaica - is hailed as the founder of Hip-Hop, a cultural movement that transformed music, fashion, and art around the world. Although his name may not be as familiar to the masses as some other artists, his influence and impact on music are immeasurable. DJ Kool Herc’s legacy stretches beyond his music, leaving an indelible mark on the lives of millions. Herc moved to the Bronx, New York, in the late 1960s, a time when the borough was plagued by crime, poverty and social unrest. Amidst these challenging circumstances, Herc found solace and refuge in music. Inspired by the Jamaican sound systems he grew up with, Herc began experimenting with his own unique style of playing records at parties and events. One fateful day, DJ Kool Herc’s innovative technique of isolating and repeating the instrumental breaks of records to create extended dance sequences changed the course of music forever. He developed what he called “the Merry-Go-Round,” where he seamlessly looped the breakbeats, creating a continuous rhythm that captured the attention and captivated the bodies of those in attendance.
This pivotal moment gave birth to a new musical genre, one that would break barriers and transcend cultural boundaries. DJ Kool Herc’s style became the foundation of what is now known as Hip-Hop, a genre that forever altered the musical landscape and allowed marginalised voices to be heard. Hip-Hop, at its core, is about self-expression, storytelling, and representation. DJ Kool Herc understood this, and he celebrated diversity and individuality through his music. Herc provided a platform for artists from underrepresented communities to showcase their talent and share their experiences. He paved the way for artists like Grandmaster Flash, Afrika Bambaataa, and Run-D.M.C., who would build upon his foundations and take Hip-Hop to greater heights.
But DJ Kool Herc’s influence extended beyond his DJing skills. He was also responsible for introducing graffiti and breakdancing to the Hip-Hop culture. Graffiti became a visual representation of Hip-Hop’s rebellious and artistic spirit, adorning the walls of New York City with vibrant colours and intricate designs. Breakdancing, on the other hand, became an integral part of the Hip-Hop movement, encapsulating the energy and creativity of the genre. Herc encouraged and nurtured young breakdancers, providing them with a platform to showcase their skills alongside his DJ sets. From the streets of the Bronx, breakdancing grew into a global phenomenon, inspiring countless dancers worldwide. DJ Kool Herc’s legacy is not confined to the realm of music and dance. He embodied the spirit of community and unity, fostering a sense of belonging among the marginalised youth of his time. Herc’s parties were open to anyone who wanted to escape their troubles and immerse themselves in the vibrant sounds of Hip-Hop. His influence reverberated far beyond the Bronx, reaching countries and cultures that had never encountered Hip-Hop. His impact can be seen in every corner of the world, where young people use Hip-Hop as a means of empowerment and self-expression. In recognition of DJ Kool Herc’s contributions, August 11th has been designated as Hip-Hop Appreciation Day, a day to honour the culture that he helped birth and celebrate its profound impact. This designation serves as a reminder of the power of music and its ability to unite people from diverse backgrounds. DJ Kool Herc’s legacy is characterized by his dedication to his craft, his innovation, and his unwavering belief in the power of music. He created a genre that has shaped the lives of countless individuals and opened doors for future artists. DJ Kool Herc will forever be remembered as the father of Hip-
FIFTY YEARS OF HIP HOP
FIFTY YEARS OF HIP-HOP
Hop, an influential figure whose legacy continues to grow with each passing year.
only to Hip-Hop but also to contemporary art movements worldwide.
THE FIVE ELEMENTS OF HIP-HOP
5. Knowledge: Knowledge is the final, but equally significant, element of Hip-Hop. It involves understanding the history, principles, and values that underpin the culture. Knowledge encompasses having a deep comHip-Hop is a cultural and artistic movement that has prehension of the movement’s roots, including the become a global phenomenon, influencing music, struggles faced by its pioneers and the cultural and fashion, dance, and even politics. At the heart of societal context in which Hip-Hop emerged. This elHip-Hop culture are the five elements, which emement encourages awareness of one’s surroundings, body the essence and ideology of this revolutionpromotes education, and fosters a sense of cultural ary movement. These elements include emceeing, identity and pride within the Hip-Hop community. DJing, break dancing, graffiti art, and knowledge. Collectively, these five elements form the foundation of Hip-Hop culture, highlighting the move1. Emceeing: ment’s creative, social, and political significance. The Emceeing, also known as rapping, is the vocal or lyr- fusion of emceeing, DJing, break dancing, graffiti art ical element of Hip-Hop. It is a form of self-expresand knowledge creates a holistic and transformative sion that allows artists to convey personal stories, experience that extends beyond mere entertainexperiences, and emotions through rhythmic speech ment. Hip-Hop has the power to challenge norms, and wordplay. Emceeing is not limited to the words inspire change, and empower individuals by providthemselves but also involves the intelligent delivery, ing a platform for self-expression, cultural preserflow, and performance. The significance of emceevation, and community building. Its global impact ing lies in its power to bring attention to social and continues to evolve, adapting and resonating with political issues, promote self-awareness, and pronew generations while remaining true to its revoluvide a voice for the marginalised. tionary roots. 2. DJing: DJing, short for disc jockeying, is another crucial element of Hip-Hop. DJs play an instrumental role in creating the unique sound and atmosphere of Hip-Hop music. They utilise turntables, mixers, and other equipment to manipulate and blend different records, creating innovative beats and samples. Through this process, DJs contribute to the creation of the distinctive sound that has become synonymous with hip-hop. Furthermore, DJs are responsible for hosting parties, events, and showcases, which bring communities together and foster a sense of unity within the Hip-Hop culture. 3. Break Dancing: Break dancing, also known as b-boying or b-girling, is a dynamic and acrobatic style of street dance that originated in the Bronx. It incorporates intricate footwork, spins, and gravity-defying moves executed with precision and flair. Break dancing serves as a form of physical expression, requiring strength, agility, and creativity. The significance of this element lies in its ability to provide an outlet for self-expression, promote individuality, and preserve the cultural heritage of Hip-Hop. 4. Graffiti Art: Graffiti art is an essential visual element within the hip-hop culture that involves creating elaborate and eye-catching murals or tags using spray paint. It functions as a form of public art and an expression of creativity that often reflects social commentary, political messages, and personal expression. Graffiti art challenges traditional notions of art and promotes individualism, activism, and the reclaiming of public spaces. This element is fundamental not
BARS The art of 16 bars in rap music is a cornerstone of the genre. It’s a powerful tool used by artists to express their thoughts, emotions, and experiences in a compact and impactful way. We will now take a deep dive into what 16 bars are, why they are significant, and how they have shaped rap music. Firstly, what exactly are 16 bars? In rap terminology, a bar refers to a measure of music, typically consisting of four beats. In a traditional rap song, verses are usually divided into multiples of 16 bars, with the most common format being three verses of 16 bars each, followed by a chorus. This structure provides a clear framework for the artist to organise their thoughts and deliver their message concisely. The significance of 16 bars lies in its brevity and structure. It forces the artist to condense their ideas into a specific number of bars, which requires careful selection of words and a focus on the most essential message. This constraint enables rap artists to pack a punch in their rhymes, creating an impact that resonates with the listeners. The artistry lies not only in the rhymes themselves but in how they are delivered within the framework of 16 bars. Furthermore, the use of 16 bars allows for seamless collaboration between rappers. In a cypher or a collaborative rap song, each rapper takes turns delivering their 16 bars, creating a cohesive and dynamic experience. This format allows the artists
FIFTY YEARS OF HIP-HOP
to complement and respond to each other’s verses, showcasing their unique styles and skills. It also encourages healthy competition, as each rapper strives to deliver the most impressive and memorable bars. The art of 16 bars in rap music has evolved over time, with different artists infusing their own unique styles into this format. Some artists prefer to deliver rapid-fire, multisyllabic rhymes within their 16 bars, showcasing their technical skills. Others focus on storytelling, using their bars to paint vivid pictures and convey personal experiences. The diversity of approaches within the 16 bar structure highlights the versatility and creative freedom rap offers to its artists. The impact of 16 bars in rap music extends beyond just the lyrics. The delivery, flow, and rhythm play a crucial role in bringing the bars to life. Rappers experiment with different cadences, pitching, and tone of voice to enhance the emotions and intentions behind their words. The way an artist rides the beat, pauses for emphasis, and changes the speed of their delivery within the 16 bars can create a captivating listening experience, evoking a wide range of emotions in the audience. Moreover, the art of 16 bars reflects the cultural and social realities that rappers navigate. It provides a platform for artists to speak truth to power, raise awareness about societal issues, and give voice to marginalised communities. The concise nature of 16 bars allows for potent social commentary, shedding light on topics such as systemic racism, poverty, police brutality, and the daily struggles faced by individuals.
THREE HIP-HOP ALBUMS THAT CHANGED RAP FORVER Hip-hop is a genre that has undergone numerous changes and evolutions since its inception in the Bronx during the 1970s. Throughout its history, there have been standout albums that have had a tremendous impact on the rap music scene, shaping its future and inspiring countless artists. 1. “Illmatic” by Nas (1994): Released in 1994, “Illmatic” marked the debut studio album of Queens rapper Nas. With its gritty lyricism and impeccable storytelling, Nas revolutionised the rap game and solidified himself as one of the greatest lyricists of all time. The album delves into the harsh realities of growing up in the projects, painting vivid pictures of street life, crime, and the quest for success. “Illmatic” introduced a new level of introspection and poetic depth to rap music. Nas’s lyrical prowess, combined with the production skills of DJ Premier,
Pete Rock, and Q-Tip, created a sonic masterpiece that still stands as one of the most influential albums of all time. Tracks like “NY State of Mind” and “The World Is Yours” showcased Nas’s ability to seamlessly blend thought-provoking lyrics with smooth flows, inspiring a new generation of MCs to focus on lyricism and storytelling. The impact of “Illmatic” extended beyond the pure sonics. It showcased the power of vulnerability in rap, breaking the stereotype of aggression and braggadocio that had previously dominated the genre. Nas’s introspective approach resonated with listeners, proving that rap music could be both authentic and introspective without sacrificing its street credibility. “Illmatic” set a new standard for rap albums, inspiring countless artists in its wake. 2. “The Miseducation of Lauryn Hill” by Lauryn Hill (1998): “The Miseducation of Lauryn Hill” not only cemented Lauryn Hill’s place in music history but also reshaped the role of women in rap and the industry as a whole. Released in 1998, Hill’s debut solo album blended elements of R&B, soul, and Hip-Hop, creating a masterpiece that spoke directly to the hearts and minds of her listeners. With introspective tracks like “Doo Wop (That Thing)” and “Ex-Factor,” Hill explored themes of love, identity, and societal expectations. Her lyrics were incisive and poignant, challenging the norms of the music industry and reflecting the struggles faced by women in a male-dominated world. This album not only showcased Hill’s vocal prowess and lyrical dexterity but also emphasized the power of vulnerability and authenticity in rap music. “The Miseducation of Lauryn Hill” shattered the glass ceiling for female rappers, proving that women could not only hold their own in a male-dominated field but also create music that resonated deeply with listeners. This album inspired a generation of female artists, encouraging them to embrace their individuality and express themselves fearlessly. 3. “The Blueprint” by Jay-Z (2001): “The Blueprint” is often considered the magnum opus of Jay-Z’s illustrious discography and one of the most influential albums in rap history. Released in 2001, this album firmly established Jay-Z as a rap icon and transformed the sound and style of rap music. With “The Blueprint,” Jay-Z introduced a soulful and melodic sound that was unprecedented in the rap scene. The album’s production, mainly handled by Kanye West, Just Blaze, and Timbaland, layered soul samples and smooth beats, creating a sonically rich experience. This infusion of soul samples paved the way for future artists, helping to bridge the gap between rap and mainstream audiences. Lyrically, “The Blueprint” showcased Jay-Z’s formida-
FIFTY YEARS OF HIP-HOP
ble skills as a storyteller and wordsmith. Tracks like “Takeover” and “Song Cry” highlighted his ability to effortlessly switch between braggadocious rap and introspection. The album also included timeless hits like “Izzo (H.O.V.A.)” and “Renegade,” both of which showcased Jay-Z’s impeccable wordplay and flow. “The Blueprint” firmly established Jay-Z as a trendsetter and influenced countless artists to explore new sounds and experiment with their craft. This iconic album not only changed Jay-Z’s career trajectory but also redefined the possibilities of rap music. In conclusion, “Illmatic,” “The Miseducation of Lauryn Hill,” and “The Blueprint” are three hip-hop albums that changed rap music forever. Each album pushed boundaries, created new styles, and told stories that resonated with listeners on a personal level. Through their innovation and artistry, these albums inspired a generation of artists to continue pushing the envelope and elevating Hip-Hop to new heights.
social and political issues. Their lyrics encouraged self-confidence, empowerment, and unity and laid the foundation for future generations of female artists. The 1990s saw the rise of iconic female emcees, including Missy Elliott, Lauryn Hill, and Lil’ Kim. These women broke new ground with their unique styles, lyrical prowess, and boundary-pushing music videos. Missy Elliott, in particular, revolutionized the genre by blending rap with R&B, creating a distinctive sound that remains influential to this day. Lauryn Hill’s debut solo album, “The Miseducation of Lauryn Hill,” not only achieved critical acclaim but also made history by becoming the first Hip-Hopalbum to win the Grammy Award for Album of the Year. Lil’ Kim, known for her provocative and explicit lyrics, challenged notions of femininity, sexuality, and female empowerment, pushing the boundaries of what was acceptable for women in Hip-Hop.
the new millennium dawned, women continued THE WOMEN OF HIP-HOP Astonaj,make waves in Hip-Hop. Artists such as Nicki MiMegan Thee Stallion, and Cardi B have achieved While Hip-Hop has been dominated by male artists, women have played a significant role in shaping and evolving the genre throughout its history. From the early pioneers to the current trailblazers, women have utilised hip-hop as a tool for self-expression, empowerment, and social commentary.
In the early years of Hip-Hop, women’s roles were often limited to backup dancers or occasional guest appearances. However, in the 1980s, women began to make their mark as solo artists. The emergence of female artists such as Salt-N-Pepa, Queen Latifah, and MC Lyte not only challenged gender norms but also brought a fresh perspective to the genre. These women were unapologetically bold, speaking openly about their experiences as women and addressing
unparalleled success, dominating the charts and breaking records. Nicki Minaj, often referred to as the Queen of Rap, has shattered numerous barriers, becoming the first female solo artist to have seven singles simultaneously on the Billboard Hot 100 chart. Megan Thee Stallion’s hit song “Savage” became a global anthem and earned her multiple awards, including Grammy Awards for Best Rap Song and Best Rap Performance. Cardi B, once a reality TV star, rose to fame by embracing her authenticity and delivering unapologetically raw verses. Her debut album, “Invasion of Privacy,” made history by becoming the first solo female rap album to win the Grammy Award for Best Rap Album. However, it is important to recognize that women in
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Hip-Hop face challenges and double standards that their male counterparts do not. Misogyny, objectification, and a lack of representation continue to plague the industry, making it difficult for women to navigate and thrive. Female artists often have to prove themselves and work twice as hard to gain the same recognition as their male peers.
Despite these obstacles, women have persisted in Hip-Hopand continue to make their mark. They use their platforms to address societal issues such as racism, sexism, and police brutality, amplifying the voices of marginalised communities. Through their music and performances, they inspire and uplift other women, encouraging them to embrace their power and worth. In conclusion, women have played a crucial role in shaping the narrative and evolution of Hip-Hop. From the pioneers of the 1980s to the current generation of trailblazers, they have challenged societal norms, championed empowerment, and amplified voices that have historically been marginalised. Women in Hip-Hop have proven that they are not only here to stay but will also continue to shape the future of the genre.
HIP-HOP AND AMERICAN POLITICS Hip-Hop, a genre that originated in the African American and Latinx communities in the Bronx, New York City during the 1970s, has had a significant impact on American politics throughout its history. As a form of artistic expression that often reflects the struggles and experiences of marginalised communities, Hip-Hop has served as a powerful tool for political activism, allowing artists to address issues such as racism, police brutality, and socioeconomic inequality. One of the primary ways in which Hip-Hopintersects with American politics is through its lyrical content. Many Hip-Hop artists use their platform to discuss social and political issues, shedding light on the harsh realities faced by marginalised communities. The lyrics in Hip-Hop songs often provide a unique perspective that challenges mainstream narratives and encourages listeners to critically evaluate the state of society. From Public Enemy’s politically charged anthem “Fight The Power” to Kendrick Lamar’s Grammy-winning album “To Pimp a Butterfly,” which explores themes of black identity and systemic oppression, Hip-Hop has become an important medium for political commentary. Hip-hop has also been instrumental in empowering and mobilising disenfranchised communities. Artists such as N.W.A., Tupac Shakur, and Eminem have utilised their music to address police brutality and call for justice. Songs like “F*** Tha Police” by N.W.A. became anthems of resistance against police
violence, echoing the frustrations felt by many individuals who have been unjustly targeted by law enforcement. Similarly, Tupac’s song “Changes” highlighted societal issues such as poverty, drugs, and racial profiling, urging listeners to demand a better future. These artists, among many others, have used theirmusic to encourage political engagement and activism, inspiring their fans to get involved in the democratic process. Beyond the lyrical content, Hip-Hop has also had a significant impact on American politics through its cultural influence. Hip-hop culture encompasses not only music but also dance, fashion, and visual arts. Its influence can be seen in the way politicians, political campaigns, and protests are shaped and amplified. From Barack Obama’s iconic “fist bump” with his wife Michelle during his presidential campaign, to the use of Hip-Hopmusic during political rallies and protests, the culture has become an integral part of the political landscape. Hip-Hop has also created opportunities for political dialogue and social change through organizations and initiatives built around the genre. Groups like the Hip-Hop Caucus, founded by community activist and political commentator Reverend Lennox Yearwood Jr., work to mobilize the hip-hop generation and promote social and environmental justice. These organisations provide platforms for artists and activists to engage in conversations about politics, policy, and voter mobilisation, ensuring that the concerns of marginalised communities are heard and addressed. Despite its undeniable impact, Hip-Hop has not been immune to controversy and criticism within the political sphere. The genre has often faced condemnation for its explicit lyrics, perceived glorification of violence, and misogynistic content. However, critics fail to acknowledge the complex and diverse nature of Hip-Hop, dismissing it as merely entertainment and overlooking the power it holds as a form of self-expression and political resistance. In conclusion, Hip-Hop has played a crucial role in American politics, offering a unique perspective on social and political issues and providing a platform for marginalised communities to speak out against injustice. Whether through powerful lyrics, cultural influence, or activism, Hip-Hop continues to shape and challenge the political landscape of the United States. As the genre evolves and new voices emerge, it is certain that the relationship between Hip-Hop and American politics will continue to grow, inspiring change and demanding a more equitable and just society.
HIP HOP AND BLACK CULTURE Hip-Hop is undoubtedly one of the most influential
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genres of music in modern history. It emerged in the late 1970s in the African American communities of the Bronx, New York, as a form of expression for black youth. However, it quickly transcended its origins and became a global movement that not only revolutionized the music industry but also played a significant role in shaping black culture and identity. First and foremost, Hip-Hop provided a voice to African Americans, who had long been marginalised and silenced in mainstream media. The lyrics of hiphop songs were often filledwith social commentary, addressing issues such as poverty, racism, police brutality, and urban decay. It became a platform for black artists to share their experiences and perspectives, to expose the hardships and injustices faced by their communities, and to challenge the status quo. Moreover, Hip-Hopoffered an avenue for African Americans to reclaim their cultural heritage and showcase their talent and creativity. Through rap, breakdancing, graffiti art, and DJing, black artists could exert their artistic genius and express their unique cultural identity. This artistic expression not only allowed them to tell their stories, but it also served as a medium for cultural preservation, standing as a testament to the resilience and creativity of black people throughout history. Additionally, Hip-Hop played a crucial role in bridging the gap between generations within the black community. By combining elements of soul, funk, R&B, and jazz, Hip-Hop created a sonic fusion that appealed to both older and younger listeners. This allowed older generations to connect with their traditions and values and younger generations to explore their own identity and express themselves freely. The genre acted as a cultural bridge, fostering dialogue, and understanding between different age groups and promoting unity within the black community.
Furthermore, Hip-Hop introduced a new fashion and aesthetic sensibility that celebrated black culture. Artists like Run-D.M.C., Public Enemy, and N.W.A. pioneered a distinct style that incorporated baggy jeans, oversized shirts, sneakers, and accessories like heavy gold chains. This fashion sense not only became a representation of urban youth culture but also served as a form of empowerment for African Americans, defiantly embracing their unique aesthetic and affirming their place in society. In addition to its cultural impact, Hip-Hop also sparked important political and social movements within the black community. It gave rise to the HipHop activism of the 1980s and 1990s, where artists like Grandmaster Flash, KRS-One, and Tupac Shakur used their platform to promote social change. Their music became a rallying cry for justice, highlighting issues such as racial inequality, the war on drugs, and mass incarceration. Hip-Hopplayed a significant role in raising awareness and mobilising communities to engage in activism and advocacy. Lastly, Hip-Hop’s influence extends beyond the scope of music and culture. The genre has become a multibillion-dollar industry, providing economic opportunities for many African Americans. From record labels, artists, producers, and promoters to fashion designers, entrepreneurs, and even filmmakers, Hip-Hop has created a vast ecosystem that generates jobs, revenue, and success for black individuals. In conclusion, hip-hop has had a profound impact on black culture, providing a platform for artistic expression, social commentary, and cultural preservation. It has acted as a voice forthe marginalised, a bridge between generations, and a catalyst for social change. From the fashion to the music itself, HipHop has indelibly shaped black culture, becoming not just a genre of music but a powerful movement and an integral part of the black experience.
STREET ART MORLAIX
With a population of around 15,000 Morlaix, in North Finisterre, is hardly what you would call an area of urban sprawl, but it is a thriving home of street art.
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treet Art, Urban Art, Graffiti, call it what you will, is generally something we associate with larger cities and urban areas around the world. However, the art of the streets is thriving, in places that perhaps are a little more unexpected, like Bretagne, the mostly rural area, known more for its standing stones, myths and legends and beautiful coastline, in North West France.
Visiting the town, large murals emerge on the sides of buildings, in an area with twisty, cobbled streets and an air of ‘olde worlde’ charm. This juxtaposition of the old and the new is very pleasing, with the murals working in harmony with their surroundings. They cover many themes, but there is definitely a nod to the seafaring history of the Finisterre region and the mythical nature of its history and stories. Digging a little deeper into the reason why the art has started appearing here, we found that it is organised by a local association Takad Grafañ (or Zone À Graffer/Zone of Graffiti) based in Morlaix, whose aim is to promote urban art, as much as Breton culture and language. Morlaisian artist Zag heads up the association and they have organised the Morlaix Arts Tour, which see’s more huge frescoes and murals added to the walls of the region each year, since 2019. In 2023, there have been nine new creations added to the works that are already in place. The
art has been created by both French and international artists, giving a truly cosmopolitan feel to this Breton town. The Morlaix Arts Tour has also expanded out of Morlaix itself and into the surrounding small towns and villages, with over sixty works in the region, 2023 has seen new works in both St-Thégonnec Loc-Eguiner and Botsorhel. Artist Zag specialises in large trompe-l’oeil creations, often on staircases. In order to make the visual experience of his paintings even more interesting, he enhances his art with a spatial distortion technique, anamorphosis, which forms the visual signature specific to his works. Known around the world, Zag has also created works in, amongst other places, Paris, Portugal, Istanbul, India and Germany, including in 2020, he produced a performance on the Berlin Wall (East Side Gallery) during World Peace Day organized by the UN. Zag told us: “My approach is a catharsis where the viewer brings me back to understanding my own ills. Anamorphosis, in its complexity of realization, adds the necessary difficulty to the discovery of my works, and suggests to the spectator to search for himself, the ideal and unique point of perception, in order to create a bridge between him, the artist and work”. For more information and to plan your trip to Morlaix, visit the website here.
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Dis tr ibuting s o m e o f th e w o r ld s bigges t br and s:
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Scandinavia seems to have a disproportionate number of audio companies. In this article Stuart Smith explores a little of Scandinavian culture and how this may be affecting the Scandinavian HiFi (SCANDiFi) world.
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candiFi is a bit of a made up term much like Scandi Noire and Sandi Style, but when I thought about the number of Scandinavian countries that are producing HiFi components at the moment, the term seemed perfect. There certainly seems to be a bit of a “thing” about Scandinavian audio at the moment.
When I think of Scandinavian businesses there are a few things that come to mind, with the first being the ubiquitous home-retailing giant IKEA and the second being now defunct motorcar company SAAB. When I think of Scandinavian style then my first thoughts are of clean-lines and a minimalist aesthetic. I read the (I think) Finnish magazine FORM, or rather I read the bits in English and look at the pictures, and there is a cool and relaxed sense to the architecture, art, and fashion depicted in its pages. The way I would describe much of what I see as there being a touch of the Bauhaus’ stripped back form-follows—function mentality, but then with a sense of raw nature being brought into the design. In the latest edition there is an advertisement for (of all things) a coat hook called Endless that is designed by Anna von Schewen, that as well as being made of 100% recycled aluminium, also has an organic shape to it that is reminiscent (but then isn’t) of the symbol for infinity. It’s a cool design, but it’s a full-page advertisement…for a coat hook. But then it’s a very well-designed coat hook that will provoke an emotional reaction every time you hang your coat on it. There’s an article on the fabric designer Maija Isola that is synonymous with the clothing brand Marimekko (Linette and I are both fans) and whilst her designs are stripped back and clearly Scandi, they are also filled with imagery from the natural world. Maija was apparently banned from producing fabric with floral images but continued nonetheless and her design “Unikko” was a huge sales success for Marimekko - there is a point to that latter statement, I promise. Another advertisement has an image of a kitchen that is mostly white and the majority of the space is taken up with what would have been the roofspace (loft). Furnishing in the image of the kitchen is sparse and stripped-back and with little or no frippery beyond a table, a cooker, a workbench, and storage space. It’s clean and it’s stark, but it’s also quite homely with the main focus being on the wooden table where the family will sit to meet and eat. I knew I was going to be writing this article, but wasn’t really researching it as I read FORM, but the more I looked at this image of a kitchen, the more it resonated with me and the more it brought to mind the Scandinavian HiFi brands that I have encountered. If we look at music from Scandinavia, my earliest encounters were back in the early 90s when the “trance” and chill out scene began to emerge from the much more hectic rave scene. My thoughts about the music of this type that was coming out of
Scandinavia at the time was that it was very sparse, very full of space, organic in its textures, and, somehow, I linked all this to my perception of the Scandinavian landscape and it’s barren wildness that was elemental - ice, fire, water, and wind were what my mind would conjure when ii listened to this music. But then, like the fabric design I mentioned, there would be moments of aural colour that would speak out of the sparse soundscape, much like a single colourful flower emerging from a barren landscape. The music and the image of the fabric both reminded me of my times hiking in some of the Northern areas of Norway when I was younger. There’s a Danish word that you will have no doubt heard bandied about in recent times, I’m sure. The word is Hygge (pronounced hoo-guh), and it is deeply ingrained in Danish culture. While it doesn’t have a single English word equivalent, it is often translated as “coziness,” “comfort,” or “contentment.” Though I don’t think any of those English words go far enough and I think there is a more simple way to describe it over and above coziness and comfort. For me, it’s a feeling of being happy with your lot and being able to relax, live for the now, and to enjoy the simple pleasures of life. In Swedish there is a similar word that means (broadly) a similar thing and that word is “mys”. In Norwegian the word is “kos”. All three words have cultural differences, but from an outsider looking in they all seem to embody a Scandinavian vibe of contentment and coziness with simple, functional things that allow you to relax and get on with the art of living.
SCANDiFi So where does Scandinavian HiFi come into this discussion and are there similarities to other Scandinavian lifestyle elements we can draw? I think there are and if we were to talk to the man or woman on the street and ask them to name a high-end home audio brand, I am sure that the majority of people would come back with the name Bang and Olufsen and to write an article on Scandinavian HiFi without mentioning B&O would be a bit silly. Bang & Olufsen is a renowned Danish luxury consumer electronics brand known for its high-quality audio and visual products. Founded in 1925 by Peter Bang and Svend Olufsen, the company has a history of innovation and design excellence. From its inception, Bang & Olufsen set itself apart by prioritising both technical innovation and aesthetic appeal. This commitment to merging form and function became a hallmark of the brand and something I have mentioned in broader terms earlier in this article. As Bang & Olufsen’s design philosophy evolved, they consistently pushed boundaries and collaborated with prominent designers and architects, including Jacob Jensen, who played a pivotal role in creating the sleek, minimalist look that the brand is known for. One of the company’s most iconic products is the BeoLab 8000 speaker, introduced in 1992. Its slender, aluminium silhouette made it an instant clas-
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sic and I remember as a young adult thinking how cool this was as a design, though I was using Linn and other British brands in my system at the time. Today, Bang & Olufsen continues to be synonymous with luxury audio and visual experiences and their products seamlessly blend high-end technology with beautiful (Scandi) design. In my own experience I have been a fan of the Audiovector loudspeaker brand and we own the R6 and R3 loudspeakers. Audiovector is a Danish brand established in the late 1970s by Ole Klifoth and now run by his son Mads. What sets Audiovector apart is its dedication to the “Natural Sound” philosophy and it is this Natural Sound philosophy that had me pick them out in this article as it resonates with everything I have written so far.
Audio Group Denmark are an exciting umbrella brand that are taking centre-stage in the HiFi world now with their Ansuz, Aavik, Børresen and Axxess brands. Audio Group Denmark was founded by Lars Kristensen and Michael Børresen and their four brands share a common DNA and audio philosophy that has evolved from many years of collaboration. There is a clear aesthetic to the Audio Group Denmark products that is stripped back but technologically “out there”, with the company certainly not being shy of trying truly innovative technological solutions. The Børresen M6 loudspeakers are half a million euros and if you hear them, they are characterised by an exceptionally tight and natural bass sound, but also an open and airy treble performance that is effortless. With regards to the openess of the treble, my mind conjures the image of the advertisement for the kitchen I mentioned in FORM magazine; cool and airy with the rest of the space having very little colouration or artefacts. There is nothing superfluous to the sound of the M6 loudspeakers, but they are beautifully simple to look at and with absolutely nothing missing sonically either. Personally, I consider the M6 and the smaller M3 to be the best loudspeaker I’ve heard, but their X series loudspeakers bring a whole lot of what the M series sonic characteristics at a fraction of the price. Terry Medalen who writes the brilliant cocktail section of Not Boring Magazine works for Primare, a Swedish HiFi brand founded in 1985 by Bo Christensen. What distinguishes Primare is its unwavering commitment to minimalist Scandinavian design, cutting-edge technology and prices that are surprisingly affordable. I asked Google what epitomises their products and got the following statement: “Their products feature clean lines, premium materials, and an emphasis on functional elegance, blending seamlessly into any audio setup.” And doesn’t that kind of sum everything I’ve mentioned about Scandinavian HiFi so far. I spoke to Terry about Hygge and the whole ScandiFi thing and he had this to say, which I think sums it all up very nicely.
“Hygge seems to be a direct response to the harsh and unforgiving, yet spectacular and inspiring, natural world of Scandinavia – where there’s a deep and abiding connection felt for the earth and, particularly, the unique landscape and climate. There, the long, dark winter is not necessarily something to be endured, but rather enjoyed, in part because it allows for the most intense moments of hygge. “Hygge almost invariably involves being around a fire or candle to provide a sense of warmth and well-being. By extension, Primare components are designed with hygge in mind, in a sense to take the role of this flame. Primare’s goal is to provide performance that allows for a deeply satisfying shared experience of music and film – to heighten the hygge. “Primare practices a practical design approach, informed by the concepts of lagom and hy-gge. Product development is based on sound fundamental principles of thoroughly imple-mented power supply designs and artfully crafted ultra-short signal paths, so that each indi-vidual component and sub circuit operates sympathetically to achieve a cohesive whole.” So there you have it. I’ve tried to introduce ScandiFi in broader terms with an emphasis on how some (but not all) of the brands have a shared philosophy that is characteristically Scandinavian. At the moment it seems that ScandiFi is everywhere and like the ubiquitous furniture manufacture, perhaps they are set to take over the world with their understated but excellent designs.
SOME SCANDINAVIAN BRANDS THAT HAVE CAUGHT OUR ATTENTION We invited some of the company’s known to us to say a few words by way of introduction to their companies. There will be some that we have missed but the main scope of this article is to give you, the reader, a broad insight into the worlld of ScandiFi without being a definitive document on the subject. Amphion Loudspeakers Ltd Country: Finland Year of Formation: 1998 Number of Employees: 15 Website Address: amphion.fi Established in 1998, Amphion Loudspeakers Ltd. specializes in design and manufacturing of loud-
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speakers recognized for their honest and precise sound reproduction. Amphion uses a timeless and adaptable design philosophy to create speakers that blend perfectly with various styles and preferences. Amphion is dedicated to achieving a natural sound that allows the artists expressions to shine through, delivering an emotionally engaging, authentic listening experience at any frequency and volume.
Amphion’s core design principle revolves around the seamless integration of multiple drivers into a single, harmonious sound source . Our proprietary fifth generation waveguide significant-ly enhances the integration between the tweeter and woofer, which leads to point source type of behauviour and natural room loading resulting in a purer, more natural sound and easy placement in all rooms. Our target is to help the artists and sound engineers to reach their goals and allow the music and movie lovers to experience the beauy of pure natural sound in their own homes without unreasonable aesthetic or financial sacrifices. In order to achieve this speakers provide an expansive, whole-housefilling sweet spot, so that exceptional sound quality can be enjoyed from various positions in the room, even when it is not possible to sit and relax in the sweet spot. Quality products offer long-lasting durability and represent an eco-friendly choice, reducing the need for frequent replacements. All Amphion products are handmade in Finland (and the Amphion amplifiers are assembled in Finland) to ensure enduring listening quality. Scandinavian countries quickly followed Finland’s lead, who was the first in the world to grant equal rights to women regarding voting and right to stand for election in 1906. I feel this true and long gender equality can be seen in Scandinavia way of life, homes and also HiFi. Where many countries obsess over luxury and high end price tags, most Scandinavian HiFi manufacturers have been more focused on creating reasonably prices products, which blend in nicely with interiors and are not as men-only oriented than products in some other countries.
bly of the final product. The strong values and worldwide recognition are owed to our founder, Ole Klifoth, who has continuously promoted our guiding principles: A constant quest for innovation and perfection, to create loudspeakers with a genuinely authentic and dynamic sound, to present elegant and timeless looks and superb quality in materials with high quality workmanship. Since 2016, the company has been led by Mads Klifoth, the son of Ole. Since then, the worldwide status of the brand has grown greatly. Mads works towards keeping the path to continue to manufacture a product that remains faithful to the DNA and preserves a legacy that combines tradition, craftmanship and technology. Audio Group Denmark Brands: Ansuz, Aavik Børresen and Axxess Country: Denmark Year of Formation: 2011(Ansuz being the first company) Website Address: https://audiogroupdenmark.com/ Ansuz, Aavik, Børresen and Axxess is founded by Lars Kristensen and Michael Børresen. These four brands share a common DNA and audio philosophy that has evolved from many years of collaboration. At the end of 2020, Audio Group Denmark was established acting as the umbrella company for all four brands. At Audio Group Denmark, we bring people closer to the music by creating access to great, authentic, and emotional musical experiences. We believe that everybody deserves these kinds of moments.
Website Address: www.audiovector.com
Our overriding goal has therefore always been to develop sophisticated HiFi equipment which offers an unrivalled musical authenticity. To achieve this, it is imperative to take a hands-off approach and let the music unfold itself freely, without any constraint. We firmly believe that, in our quest to unlock the full acoustic potential of music, we have so far only begun to scratch the surface. Beneath that surface, there still lies a vast, yet unchartered area, just waiting to be discovered for the benefit of outstanding musical authenticity. We are convinced that natural curiosity and an open-minded willingness to break new ground are the best way to accomplish this goal.
Audiovector is a Danish, independent manufacturer of high-end loudspeakers and cables with headquarters and production in Copenhagen. Audiovector designs, develops, and produces the essential in-house components and parts of its loudspeakers. From creating crossovers, tweeters, cables, and internal wiring to finishing of the cabinets and assem-
We have learned that the technological development and innovation that arises in the product development of each of our four brands Ansuz, Aavik, Børresen and Axxess, often can be used across the four brands. The technologies are adaptable to other products then what it was intended for. This means that our four brands exist in a symbiosis with
Audiovector ApS Country: Denmark Year of Formation: 1979 Number of Employees: 15+
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each other.
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For a more historical approach, please see the section “Our History”. It will give you an small insight into which role hifi had/have in the life of Lars Kristensen and Michael Børresen early in their life and by that a perspective on HiFi in Denmark at that time. https://audiogroupdenmark.com/about/ AVA Group A/S Country: Denmark Year of Formation: 2003 Number of Employees: Approximately 10 Website Address: www.vitusaudio.com / www. alluxity.dk AVA Group is an amplifier design and manufacturing company dedicated to achieving excellence and setting new benchmarks within the high-end industry on both build quality and brand visibility. Our emphasis lies in internalizing numerous crucial facets of production, allowing us direct oversight over the targeted quality outcome. This approach provides us with immediate manufacturing feedback, a crucial element that aids us in consistently refining our craftsmanship and advancing the development of our two esteemed brands: Vitus Audio and Alluxity. Bang & Olufsen Country: Denmark
Just last year, the brand launched Beosound Theatre - an innovative Dolby Atmos soundbar that delivers immersive cinematic sound and unparalleled Scandi design. With a modular build that will last for decades to come, any TV can be slotted in, and its powerful speaker driver arrangement and advanced sound directivity bring the magic of the cinema to your own home. Meanwhile, an optional motorised stand brings a touch of Bang & Olufsen flair to every movie night, enabling your TV to rotate for the best viewing angle. Thanks to its intelligent surround sound processor, Beosound Theatre can also link up with any compatible Bang & Olufsen product. DANTAX Radio A/S – Brands: Raidho, Scansonic HD and GamuT. Country: Denmark Year of Formation: 1969 (DANTAX Radio A/S) Number of Employees: 25 Website Address: www.dantaxradio.dk DANTAX Radio A/S started out by making mainstream loudspeakers under its own name with huge success in the 70-90s. In addition DANTAX also owned Scan Speak in the 80s. In 2009 DANTAX bought Raidho Acoustics making an entrance to the High End scene. Later introducing Scansonic HD as the budget friendly ver-sion of Raidho. DANTAX Radio has a significant impact on the Danish HiFi indus-try, but also the world wide High End market. Electro magnetism was discovered by a Dane 200 years ago: HC Ørsted.
Year of Formation: 1925
The dynamic drive unit was invented by a Dane in 1917: Peter Jensen.
Number of Employees: 1,000+
This is why there is a “sonic-valley” in Denmark.
Website Address: www.bang-olufsen.com
Engström (Engström & Engström AB)
Bang & Olufsen is a global luxury-lifestyle brand founded in 1925 in Struer, Denmark by Peter Bang and Svend Olufsen whose devotion and vision remains the foundation for the company. The rich heritage built around the relentless determination to create products that push the boundaries of audio technology continues to place the company at the forefront of audio innovation.
Country: Sweden
Today, every Bang & Olufsen product is still characterised by the unique combination of beautiful sound, timeless design, and unrivalled craftsmanship. The company’s innovative and progressive audio products are sold worldwide in Bang & Olufsen monobranded stores, online and in multibranded stores. The company employs over 1,000 people and operates in more than 70 markets and Bang & Olufsen’s shares are listed on NASDAQ Copenhagen A/S.
Engström is a Swedish family company founded by uncle & nephew duo Lars & Timo Engström, creating some of the most unique high-end tube amplifiers in the world. Where most amplifiers can be classed as tech products, Engström distinguishes itself by regarding them as genuine musical instruments. This distinction is apparent in their natural sound as well as their elegant appearance; Scandinavian sound meets Scandinavian design.
Year of Formation: 2008 Number of Employees: 4 Website Address: https://www.engstromsound. com/
The company is built around balance: fully balanced
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linear circuits, a balance of engineering & design, form & function. These amplifiers are designed to be seen as well heard. Just as there is a rightness to their sound, there is a rightness to how they inhabit a space: striking angles, clean surfaces and state-ofthe-art curved glass panels ensure they stand out in the industry while fitting in effortlessly with beautiful interior design. Inspired by Scandinavian radio furniture from the 60’s and 70’s, they strike a timeless balance between classic and modern.
Engström’s core product family consists of MONICA, LARS, ERIC and ARNE, spanning phono, pre, power and integrated amplifiers - all proudly made in Sweden. Scandinavians are all taught to play instruments from early age so music is a natural part of everyone’s life, due to municipal music school, just as hiking in nature due to the right of common (the right of public access). It’s no coincidence that Scandinavian composers, songwriters, produces and music is highly appreciated all over the world. Or that Tidal comes from Norway and Spotify comes from Sweden.
What sets Electrocompaniet apart is their unwavering commitment to their customers. They understand that music is a deeply personal experience and strive to create products that allow individuals to connect with their favourite artists on a whole new level. Today, Electrocompaniet continues to push the boundaries of audio technology, constantly innovating and refining the products to meet the evolving needs of music enthusiasts. Their passion for music and dedication to craftsmanship make them a true leader in the world of high-fidelity audio. So, whether you’re a casual listener or a devoted audiophile, Electrocompaniet is here to elevate your music experience and bring your favourite tunes to life.
Country: Norway
Nordic design, known for its simplicity, functionality, and minimalism, has captured the hearts of design enthusiasts worldwide. Nordic design embraces clean lines, natural materials, and a harmonious blend of form and function. Inspired by the region’s breathtaking landscapes and long winters, Nordic design seeks to create serene, inviting, and timeless spaces. Whether it’s furniture, architecture, or HiFi equipment, Nordic design effortlessly combines elegance with practicality, resulting in a visually stunning and highly functional style.
Year of Formation: 1973
Hegel Music System AS
Number of Employees: 10
Country: Norway
Website Address: Electrocompaniet.com
Year of Formation: 1998
With a rich history spanning over five decades, Electrocompaniet is a household name in the world of high-fidelity audio equipment. The incredible Electrocompaniet success story that began fifty years ago with their 25W amplifier has grown into Electrocompaniet of today.
Number of Employees: 11 Website Address: www.hegel.com
Electrocompaniet AS
Electrocompaniet’s dedication to quality is evident in every aspect of their manufacturing process, all done in their own factory in Tau, Norway. From meticulously selecting the finest components to employing skilled craftsmen, they ensure that each product meets the highest performance and durability standards. Electrocompaniet’s most iconic creations is their line of amplifiers, known for their exceptional sound reproduction and unwavering reliability. These amplifiers have garnered praise from audiophiles worldwide, earning the company a reputation for delivering unparalleled audio experiences. Electrocompaniet’s success doesn’t stop at amplifiers. The product range includes preamplifiers, DACs, streamers, and CD players, all designed with the same meticulous diligence.
Hegel Music System was founded around the development of a new amplifier technology we developed and patented, called SoundEngine. The SoundEngine technology dynamically cancels out distortion in analogue amplifier circuits. 25 years later, Hegel develops everything from CD-Players, phonostages, amplifiers, DAC’s and streaming amplifiers. All of which are based around the same fundamental idea of adding very little to the music. We like to think that our products are experienced as being very natural sounding and at the same time detailed and dynamic. One unique thing with Hegel, and also highly appropriate here, is that we have a company mascot and the is a pig. (a stuffed animal type). His name varies but it is quite often Johan. Sometimes just “the door stopper pig”, as his original “job” at Hegel was to keep a door with a magnetic lock open when needed. He still does that when we have guests. However, he has since gained benefits like a paid
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vacation in a summerhouse at Christmas, Easter and throughout the summer. Lyngdorf Audio Country: Denmark Year of Formation: 2005 Number of Employees: 40 Website Address: www.lyngdorf.com
Lyngdorf Audio is a relatively young company, founded in 2005 in Skive, Denmark. The town near the beautiful Skive Fjord was simply chosen because it was in middle of the three founder’s hometowns. The main founder and namesake is the Danish audiophile and entrepreneur Peter Lyngdorf. We have to turn back the calendar before the company’s foundation: Already in 1998, Peter Lyngdorf and a small group of audio engineers created the world’s first digital audio amplifier, the iconic Millennium. Peter realised that most music already is and will be created digitally, stored digitally, played digitally. So why are audio amplifiers analogue? He founded a new company and developed a purely digital high-end amplifier called TacT Millennium, later known as the Lyngdorf Millennium. All products soon merged into his new company, Lyngdorf Audio, in 2005. While digital amplification is one part of Lyngdorf Audio’s DNA, the other part is digital room correction. Peter Lyngdorf realised early that every speaker and even his own advanced digital amplifiers are always limited by the room acoustics. Gathering the best acoustic engineers from Denmark, the patented RoomPerfect technology was created, a unique and different way than the common (and often failing) approach: The one-spot-measurement followed by linearizing the sound. Over the years, the company added another successful part next to digital amplifiers: Multichannel processors for advanced home cinemas. Based on the same deep digital signal know-how with RoomPerfect calibration, upscaled to 16 (or more) speakers. Being first with technology remains part of the philosophy: Lyngdorf Audio was early adapting Tidal Connect in their amplifiers, the first to bring HDMI 2.1 processors to the market, and recently also the first adding embedded Dolby Atmos Music streaming. To round up the company’s portfolio, loudspeakers with a strong focus on novel acoustic engineering inside and Scandinavian style outside are offered, and some custom installation speakers on top. Steinway Lyngdorf. In parallel to Lyngdorf Audio, another part of the company was founded in 2007: Steinway Lyngdorf, a cooperation between Lyngdorf Audio and the world’s best piano manufacturer, Steinway & Sons from New York / Hamburg. While
some digital amplifier technology and audio/video processing are shared inside, the loudspeakers carrying the original Steinway & Sons brand name are unique products with no Lyngdorf Audio counterpart. They are also lacquered at the same facility where the iconic Steinway & Sons pianos are lacquered, and the products are usually distributed and installed by other retailers than the ones carrying Lyngdorf Audio. Primare Country: Sweden Year of Formation: 1986 Number of Employees: 8 Website Address: www.primare.net As Primare is a Scandinavian company, many of the distinctive characteristics of the brand are rooted in Scandinavian culture – in a particular way of living, and of experiencing music and film. An inherent part of the cultural landscape of Scandinavia is the idea that in all things there should be a sense of proportion and balance, of all elements working cohesively together. Lagom (“laah-goam”) is the Swedish word for this: roughly meaning “just the right amount.” Not too much. Not too little. Everything in perfect balance, harmony, and proportion. When things simply feel right. Implicit in our definition of lagom is the sense that no aspect of a Primare product, in either appearance or performance, should draw attention to itself – that the music should be the primary experience and the perception of technology at work should disappear. For nearly forty years Primare has embodied this holistic design approach. Each and every product is a harmonious blend of technology and functionality, the components having been developed to deliver effortless audio purity and ease of use. The many design and production innovations that enable a Primare component to deliver uniquely harmonious and balanced performance can be illustrated, but there is no measure of its ability to exhilarate and satisfy. That feeling is immeasurable. Ultimately, and true to this idea of lagom, the Primare experience simply feels right. Lagom – when things simply feel right. You will know it when you see and hear Primare. Sigberg Audio Country: Norway
Year of Formation: 2020
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Number of Employees: 3 Website Address: www.sigbergaudio.no We are a small company with no legacy or ties to large owners that stifle innovation. Our products may appear niche and our design choices unusual, but it’s all in pursuit of the best sound possible. Dynamic range and bass performance are among the things that set our products apart. In our modest product line-up we have a bookshelf speaker with higher dynamic range than most floorstanders, we have a groundbreaking wideband cardioid monitor, and we have the smallest dual 10” subwoofer in the world. Bass performance is where most HiFi systems struggle, usually due to problems with the listening room. We build Active speaker systems with design choices aimed at minimizing this issue, making it easier for our customers to achieve great bass perfor-mance and great sound. Our systems are also designed to not take up too much visual space. They can be placed close to the wall and feature functional, Scandinavian aesthetics. Sonically you can expect rich, natural sound and high dynamic range. Dedicated mid-range drivers and subwoofers ensure far higher capacity and lower distortion than you typically see in products aimed at the consumer market. Our speakers are developed through a combination of measurements and extensive listening, ensuring awesome, fatigue free sound for extended listening sessions. Our passion is to build something that will make your music sound great. No matter the genre. Treble Clef Audio Country: Denmark Year of Formation: 2022 Number of Employees: 3 Website Address: www.trebleclefaudio.com Treble Clef Audio, designed & headed up by Ole Siig. Grounded in sound by design, Treble Clef Audio® pushes the boundaries of audio innovation, authentic HIFI experiences, and functional design. An Unparalleled Audible Experience, deeply rooted in the Danish modern tradition of function and form. The sculpted shape achieves perfect uniform sound distribution in all directions, even outside the listening room. Exquisitely crafted and hand assembled in Denmark to your aesthetic preferences — because timeless design, lasting quality and craftsmanship is essential to us.
Careful consideration goes into every detail of Treble Clef Audio® loudspeakers. Form follows function is not just a design concept to us, it is foundational to the authentic sound and visuals aesthetics that blends into thoughtfully curated interiors. Our patented no-box Air Velocity Transducer Bass System, state-of-the-art Digital Signal Processing (DSP) and amplifier technologies are consciously applied with a clear goal: To authentically reproduce music and ambience experiences with the true character of bass - like never before. Sound by design express our deeply rooted focus on innovation, latest technologies, Danish design and our tradition of collaborative craftsmanship. Our goal is unparalleled appeal to the auditory, visceral, and visual senses. Scandinavia, and not least Denmark, is known for innovation and design. The electrodynamic loudspeaker was invented over 100 years ago on December 10, 1915, by the Dane Peter Laurits Jensen and his partner Edwin Pridham. Innovation within loudspeakers and related technologies continues with Denmark probably per capita among the countries with the largest HIFI industry. Treble Clef Audio® launched in 2022 despite the obvious competitive challenges from peers. We were not around to make it into “Danish Loudspeakers”*. 100 years, 1915 - 2015, published by Danish Sound Innovation Network, comprehensively reviews the history of Danish loudspeaker innovation and companies. We aim to contribute to this legacy with our first product, the TCA-M Active Loudspeaker and our patented Sound by design platform. Vera Audio Country: Norway Year of Formation: 2017 Number of Employees: 3 Website Address: https://www.vera-audio.com/ Our focus is to bring honesty and a non snake-oil approach into the audio industry. We believe in an objective based approach where measurement and listening goes hand in hand. A measurement alone is meaningless unless it is related to what we hear. However, combined with our knowledge of our perception and psychoacoustics, measurements are a vital tool in creating great audio products. Vera Audio strives to find the relationship between audio perception and measurements and uses this knowledge in developing products. We also firmly believe in offering products at honest prices and keeping a high integrity in everything we do. Obviously, we need to make money like anyone else in business, but we do not believe in setting
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high prices simply because we can or as an approach to fool the customer into believing that high price alone must mean high quality.
THE LAST WORD Finally we asked Øystein Hasnes of The HiFi Asylum to say a few words about themselves. The HiFi Asylum is an online community with which HiFi PiG has been associated with since their launch and are the sole providers of their daily news content. The HiFi Asylum is a online community dedicated to the world of HiFi and music. It offers a community of knowledgeable audiophiles who share their expertise and experiences to help music lovers avoid costly mistakes and make informed decisions about their high-end audio systems. The platform also provides a space for members to showcase their setups, engage in discussions, and even organize local meetups for shared listening sessions. With a focus on genuine connections and trustworthy expertise, The HiFi Asylum aims to create an inclusive and secure online environment for audiophiles to connect and enhance their HiFi journey. The idea came to me as I was working at Oslo Hi-Fi Center and many of my customers who over the
years had become friends told me they only had me to discuss HiFi with, no family or friends did understand them, and most of all no open internet forums where the trolls really hit them hard, to the point they just avoided forum and Facebook groups altogether. Then it occurred to me that I could gather them in a group so they could talk and share their passion for all things HiFi among themselves. I personally learn from it and they learn from me. What I really like is the way we share new (or old) music with each other, down to what copy to get or when new versions are dropped on the marked. We use telegram for fast communication and ease to share video and pictures while messaging each other what we do right now, as listening to a particular track or trying a new placement for our speakers. We are posting daily on Facebook and Instagram and we do also have a open Telegram channel and on youtube. Website Address: https://www.thehifiasylum.com/ Hope to see you inside and welcome among us!
VINIUS TVC-05 SE TOUCH THE REALITY THANKS TO A PERFECT PHASE
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THE WINTON WATCH COMPANY
High-End Audio and wristwatches seem to have a close affinity, with many audiophiles also sharing a love of all things horological. Whilst searching the internet for unusual timepieces, Stuart Smith chanced upon a UK-based watch company with an apparently interesting story to tell and so he got in touch with Simon Hebb and Chris Holder of The Winton Watch Company,
THE WINTON WATCH COMPANY
Not Boring: The story goes that you guys met on a train. Where were you going and how did you strike up the conversation? Simon Hebb: Yes it was a train – one of the Grand Central trains from London to Sunderland. My stop was Thirsk and Chris’s was Eaglescliffe. I can’t remember the specifics of how we got talking, but classic cars was probably the most likely; it was soon apparent that we shared tastes in more eccentric car brands such as Bristol, Gilburn etc. Chris Holder: We did meet on a train, and not one that I’d ever caught before or again! I was commuting down to London for a few days every week and had been delayed the night before. The train was pretty busy, and I ended sitting opposite Simon. The conversation started off about classic cars – as I’d pulled out a car magazine – but covered whole range of subjects, I don’t remember talking about watches that time, but we could have! NB: And how quickly did you begin to discuss watches? SH: After that first meeting, we bumped into each other a number of times on the trains Chris caught regularly, and he noticed that I often wore different watches. I think that’s what sparked the initial conversation about watches. I’d been building a collection of watches, buying them sporadically when I saw something interesting.
CH: I once read that you could spot a gentleman by his watch and his shoes, so always check out what people are wearing. Simon had some really interesting watches, and all very different. NB: How did that conversation on a train spark the decision to create a business? SH: We’d talked about doing something around watches for years – almost a decade – and had the idea to create a watch brand that offered really high-quality Swiss watches at an affordable price. When lockdown came along in 2020, I had more time to research how we could do that and found a really interesting possible partner in Switzerland. CH: I still remember the phone call from Simon where he told me all about the company he’d found, and everything started rather quickly from there. Not only was it a case of getting the watches together, but we needed to create the brand, build the website, and get the pricing right. NB: What were your favourite watches at that time and why? SH: I had a vintage windup Omega from the 1920s, which I found in a table top sale but not really wearable as it is quite small on my wrist. I have always liked a number of the Patek Philippe range and how they are marketed, but doubted I will be able to af-
THE WINTON WATCH COMPANY
ford one. Winton Watches are even more exclusive now!
CH: At the time, my favourite watch was the Rolex Submariner – it had been since I first saw one when I was a about ten. I was lucky enough to get one as a graduation present from my parents and didn’t take it off for 20 years (apart from when it needed servicing). I still think the classic Submariner is one of the best watches out there, but they’re now just so expensive. NB: You are both based in the North of England, how important is it to you guys to keep this link and get it across with the philosophy of the company? How are you maintaining this link? SH: We are very much focussed on building a brand that is rooted in the north of England and work with local companies as much as we can – that currently includes branding and design, printing, photography, and even our merchandise, which is made by a lady down the road to me. CH: We also love to meet customers or prospective customers in and around the areas to chat over a coffee and show them the watches. They can also see them at a jeweller in Harrogate, which stocks the full range. NB: Winton Watch Company appear to offer exceptional value for money, though I’m yet to pull the trigger on the Swan, how important is it to you that your watches remain affordable? SH: It’s part of the Winton Watch Company DNA that our watches are the highest quality they can be for the prices we charge, and that will never change. CH: As with almost every company, we’ve had to increase prices over the last year – just because the price of materials has gone up – but we’ve kept that to a minimum and still regularly get feedback from customers about value for money we offer. NB: I was drawn to highlight Winton Watch Company because of the Sunderland connection of Joseph Swan, but your other watches highlight often overlooked “heroes”. Do you see yourselves as championing the unsung heroes? SH: I’d like to think we do and will continue to do so. Afterall, the company was inspired by the British engineer Alexander Winton, who was a racer and pioneer in the car industry. He held one of the first land speed records, produced the first car to cross America coast-to-coast and invented the car transporter, but very few people have ever heard of him. CH: Many brands champion established heroes, which is great – we all love to hear stories of daring feats – but there are lots of people who’ve done amazing things and changed the world without shouting about it, and either not received the rec-
ognition they deserved or been forgotten to history. The internet has changed that a bit, but there are still lots of unsung heroes out there. NB: Your watches are built in Switzerland, how important is that Swiss connection? SH: Our watches will always be made in Switzerland – that was one of the foundations of the brand, and we work closely with our manufacturing partner over there. CH: When you talk about mechanical or automatic watches, I think most people think of Switzerland. There’s still a certain cache to owning a Swiss watch, especially when they’re made in small volumes, and are a great conversation starter.
NB: How do you manage to keep prices so reasonable when some other micro-brands seem to be happy to put an NH35 movement in a slightly modded case from Ali Express and call it a new watch? SH: As Chris mentioned, we have had to increase prices recently, as a result of what’s happening globally, but we are always very conscious of our price point. We work closely with our manufacturing partner in Switzerland to make sure we’re able to continue to offer the quality and value for money our customers are looking for. CH: There are some really lovely movements that are produced in Japan and China, and taking a modding approach produces interesting models, but that approach isn’t for us. We’ve always said that our watches will be hand assembled in Switzerland, as that’s what our customers want. NB: What are the movements you use and why did you opt for them? SH: We currently only use the Ronda R150 movement, although we did initially use an ETA in certain models. The trouble is that ETA movements can be very difficult to get hold of. Ronda is a well-established Swiss maker, which moved into quartz movements in the 1970s, when interest in mechanical watches tailed off; however, in 2016, it launched its new R150 automatic movement, which offered everything we were looking for – 25 jewels, 28,800 beats per hour and a 40-hour power reserve. It also includes a Nivaflex main spring and Incabloc anti-shock system. CH: One of the main benefits of the R150 is that it can be serviced or repaired easily (with parts readily available). That keeps the cost down for customers and means they can be looked after by any qualified watchmaker, rather than a brand specialist. NB: Your current range of watches has essentially four divers, three field and a dress watch, which are your favourites and why?
THE WINTON WATCH COMPANY
SH: My everyday watch is the Humphrey though I switch between the Blue and Black versions. It has that ‘quality’ feel as soon as you put it on.
London (which became the first public building), and supplied electric lights to the Royal Navy, as well as inventing an electric safety lamp for miners.
CH: Simon will tell you that it’s always the one I’m wearing! I tend to wear each one for a week or two and think they’re they best. Then try I wear another one, and I think that’s the best – and so it goes on! I also try them on different straps, both from the current range and new ones we’re testing. At the moment, I’m wearing the new Anning Green, which has a black coated case.
The Humphrey also has a place close to my heart – a helicopter, rather than a person, its story sums up the heroism and determination of everyone who took part in the Falklands War, including my own father.
NB: Which of the characters your watches are named after is your favourite and why? SH: For me, it’s the Humphrey. I adored the Wessex helicopter and remember seeing ‘XP142’ (known as Humphrey) at the Fleet Air Arm museum and ended up calling Wessex’s ‘Humphreys’ as a child. CH: It’s a bit of a cop out, but I love them all! The Swan and the Anning were our first models, so they would probably win. It was my daughter who came home from school and told me about Mary Anning, and I couldn’t believe I’d never heard of her, despite what she’d done. I learned about Swan at school, but that was in Washington, and he seems largely unknown outside of the northeast. This is a man who pioneered electric light, with his own home becoming the first in the world to be illuminated by electricity. He did the same for the Savoy Theatre in
NB: What next for the Winton Watch Company? SH: We are looking to continue to grow, though we are cautious with how we spend capital as we are entirely self funded with no debt, so increasing sales is important. Whilst we have seen some price rises due to what has been going on in the world, we have not increased our margins, we still wish to produce a very good value and high quality product. It is easy to confuse value and price, but we firmly believe that our watches are of a superior specification to many at the same price point. CH: The company is growing slowing and more and more people are hearing about us, which is great. From a watch perspective, we are developing a titanium model, which we are going to run a competition to name – with people sending us suggestions of their unsung heroes.
REVIEW
BØRRESEN X3 LOUDSPEAKERS
Of course, I’d heard the X3s and their bigger siblings, the X6, at Audio Group Denmark’s facilities in Denmark way back at the start of the year, but I was sworn to secrecy and bound under pain of death not to even talk about the X6 (even though Lars at AGD could barely contain himself about these €20K bigger brothers to the X3s). Anyway, whilst at the ADG HQ I learned a couple of things; first of all Lars is rubbish at containing his enthusiasm and secondly that the X3s had to come to HiFi PiG Towers for a proper run through the system…the X6s will have to wait. I’m going to give a bit of a spoiler and say that I’ve gone a bit Lars here and can barely contain my excitement for when the X6s do come, as the X3s are just so good for a €10 grand speaker. As I type I can sense other speaker manufacturers will be reading this review through gaps in their fingers as they try not to look but can’t help themselves – sort of like when you were a kid and didn’t want to see the monster on Dr Who but at the same time you didn’t want to miss it.
Børresen X3 Loudspeakers are a 10,000 Eiro pair of speakers made by Audio Group Denmark. They look not wholly dissimilar to the company’s 250K M3s, but how do they sound?
So from the opening salvo of this review, I think you can take it as read that the Børresen X3s are a very good loudspeaker for their asking price, but there are caveats and there are reasons I won’t be rushing out to procure a pair. Another spoiler alert – if these are this good for €10K I want to hear what the X6s are like for €20K. OK, so Børresen has just announced the M3 (we got to hear them back in April at AXPONA) and M6 (we haven’t heard them yet) loudspeakers that cost around €250K and €500K respectively and so the X range of speakers could be likened (if you only look at the price) the poor cousins of the Børresen range, but I think that is missing the point somewhat, and whilst the M speakers I mentioned have a whole load of interesting tech in them that just couldn’t be afforded to the X range there are similarities in their makeup. So the X3s are a kind of gateway drug to the Audio Group Denmark universe if you like, but these are no cheap bottle of Thunderbird in the park by any stretch of the imagination, and they certainly have the air of a loudspeaker that costs a lot more. OK, the cabinets are Chinese-made which keeps costs down, but the drivers, crossovers and assembly are all done in Denmark. The Chinese thing will irk some people, I know, but if a company like AGD are to enter the “affordable”
Reviewed by Stuart Smith
REVIEW
REVIEW
REVIEW
loudspeaker market, then what are their options when pretty much everyone else seems to be doing the same and outsourcing to the Far East? Audio Group Denmark has told us that it isn’t just to keep costs down though, they say that they settled on the Chinese made cabinets “because they’re the best at the moment”. The speakers arrived on a pallet (they weigh 55Kg 121lb per speaker) and were duly attached to the Total DAC Amp 1 that was serving as our reference amplifier at the time by way of run in, but a week or so into this run-in period our new Electrocompaniet AW800M amplifier arrived. I’d reviewed this amp already and kept it longer than I should have in the first instance (I loved it so much) and so I reckon I know it pretty well.
BUILD AND TECH OF THE BORRESEN X3 LOUDSPEAKERS This is a 2.5 way loudspeaker that has a frequency response from 35Hz to 50KHZ with 2 x 4.5” Børresen bass drivers, 1x 4.5” Børresen bass/mid driver and a Børresen planar ribbon tweeter. The frequency response quoted suggests that these are reaching into the highs of super-tweeter territory with the latter having a bit of a horn loading to it. Those bass and mid-drivers are made in-house in Denmark and consist of three skins of materials that are laminated together to one membrane that is both very light and very stiff. Basically, you have a layer of aramid honeycomb material with a layer of spread carbon fibre on the outsides. The motor on the drivers has double copper caps on the pole rings which Børresen says achieves high flux and low inductance. The two pole rings and their makeup cause loss of flux and efficiency but the company account for this by using a larger magnet. The tweeter is the same as used in all other loudspeakers from the brand but, presumably, to save money in these speakers, there has been a reduction in magnet and iron mass on the X3s. This does have the effect of causing the tweeter to be less efficient and it does drop from 94dB to 88dB. The crossover to the tweeter is at 2.5kHz and the tweeter has a very low mass, as is the same in all this kind
of ribbon and allows the tweeters to be very fast. Interestingly, most of the reference speakers we use at HiFi PiG Towers as references use AMT or ribbon tweeters. The crossover uses the same components as in the Z series and Børresen says this minimizes “self-resonance”. The cabinets on the speakers we have in for review are black but you can also get them in a gloss white finish. It’s made up of a “heavily braced wood composite material and has “optical” carbon fibre inserts. From a loading perspective, the X3s have six bass reflex ports on the back and the tweeter is also vented. I’ve found rear-ported speakers to be slightly fussier than those that have front or downward-firing ports when it comes to placement and so you may want to take it into account if considering a purchase. However, and with that said, the X3s were positioned about a metre from the back walls and with one closer to the corner than the other without issue. The speakers are a little fussier than both the Audiovector R3 and the R6 speakers we have as references down here, but from an end user’s perspective that’s a “do it once and forget about it task”. Around the back of the speakers and towards the bottom are a single pair of good binding posts that will accept spades, bananas, and bare wires. Finish on the X3s is very good and they also look very smart on their integrated plinths that have adjustable footers. For the asking price I have absolutely no complaints at all with the fit and finish on these speakers.
FIRST IMPRESSIONS I try to make it a rule not to listen overly intently when I’m running review kit in, but I couldn’t help it with the X3s as I was expecting so much…and I was disappointed. I could hear what I thought was the carbon fibre of the bass and midrange drivers and throughout the music I was listening to there was a faint impression of brittleness in the mids and upper mids. This is hard to describe, but if you tap the drivers with your fingernail, it was that kind of sound – like a sharp tap on a reverby plastic plate or perhaps lightly tapping a drum. I’m not doing any better at describing it, but I hope you get my drift.
REVIEW I’ll be honest and tell you now that I was really disappointed! However, two or three days in this disappeared and I was left with a lot of what I remember (and noted) that I heard with the M3s at AXPONA, with my main takeaway in these non-critical listening periods being an exceptionally tight and (to me) accurate portrayal of bass. Even on the current show fave Ghost Rider’s “Make Us Stronger” which can sound muddy and horrible in the bass the X3s were tight and punchy. It’s a psytrance tune in essence and if you know the genre at all you will be familiar with that bass sound I’m referring to. Something still wasn’t absolutely correct with the speakers to my mind, but then whilst we had visitors the new Elecctrocompaniet amp I mentioned arrived and was immediately plugged in. This resulted in everybody in the room immediately making the comment that things were better. Now, the TotalDAC AMP 1 is certainly no slouch, and it wouldn’t have found a place in our main reference system if it was, but the Electrocomapniet and Børresen X3s just hit it off immediately. Now, this suggests to me that the Børresens like the availability of current that the AW800 M affords and so you may want to consider this when looking to audition them. With that said, the X3s are really out of their (taking price only into account) league with the €20+K amps I was using and really they should have been plumbed into the more modestly priced upstairs system, but there was no way I was going to try and get them upstairs into that system and, anyway, they seemed to be doing very nicely thank-youvery-much in this system, despite being on the end of fifty grands-worth or so of amp, pre, and DAC. So, with all the above in mind and by way of introduction, let’s get on with the main part of the review and me trying to convey as much of a feeling as I can about these speakers using the words I have in my vocabulary.
MAIN LISTENING TESTS WITH THE X3s As I mentioned, the speakers were allowed a good period to run in before any real critical listening took place and the system used was, in the main, the Electrocompaniet power amplifier, a Vinius preamplifier, and a Lampizator DAC - (Norway, Poland,
Poland).
There’s a real powerful feeling to these speakers from the get-go and the tight bass is a real feature of them that I really love. In comparison to the Audiovector R3s I would say the bass is more pronounced and deeper, with the X3s being more dynamic and impactful and with more slam to them. In comparison to the R6 (three times the price) the X3s don’t have the same level of slam offered by the isobaric bass of the former and nor do they seem to go quite as low, but we are not talking huge differences here. However, it must be said that in this respect to bass and more (of which we will come onto later), the Audiovector R6 Arrete at 25K plus sterling are a better speaker, if you can afford them…but then you would expect them to be given the price. The Streets’ Original Pirate Material begins with a clicky snare and bass kick drum pattern that can very easily sound overblown through the bass and if it does it hides the strings that rise in the background a smidge when they begin. You don’t get this with the X3 and they allow the bass kick, the snare, and the strings to be clearly heard with the vocal cutting through the mix as it surely was intended to. Has It Come to This? is the next track and it maintains the same clicky percussive sounds on the drum track of the opening track, but it also has a deep bassline which again can sound overblown on some speakers, but not on the X3s. When I first heard this track my first impression was that the X3s were perhaps a little bass-lite, but that’s just not the case and what you get is a very clear rendition of that bassline. No, they don’t go uber-low in the bass but that, as I’ve said in many a review in the past, could be a benefit in more reasonably proportioned rooms. In this room (10 x 5 m..ish) the speakers could well get lost in the bass, but they don’t! The speakers’ spec sheet says the speakers go down to 35Hz and I have no doubt this to be the case, certainly, I felt no need for a sub! Our Audiovector R6s feel to go deeper than the X3s on this album (and in general) and offer a more visceral dynamic to the record, but the truth is that the X3s are not all that far behind, though I’d still choose the R6s if I was forced to... and was happy to spend the extra money. I’d love to hear the X6s in this respect and do a direct comparison! Imaging with the X3s is excellent and I think the ribbon tweeter is a superb choice for this speaker. It offers a level of accuracy and detail that gives
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the loudspeaker a sense of realism with regards to where instruments and sounds are placed on the stage but without the image becoming over-exaggerated. This latter point is an important one and something I’ve been banging on about for a while in reviews. These speakers do not throw a soundstage that is too forward into the room, and it does feel very natural – sort of as if you are sat mid-way back in the auditorium and in a “live” environment. However, within the soundstage presented in front of you the individual sounds are clearly defined in their own spaces and there is three-dimensionality, it’s just not over-emphasised. I remember when I first heard the Cabasse Spheres and commented on their imaging being like looking down/up at the stage, and that’s kind of what I get with the X3s. The midrange with the X3s is transparent and clear sounding throughout the range and without anything jumping out to the fore to spoil a very balanced and proportional presentation. However, sometimes the mid-range did sound etched in the soundstage in a that it was clearly distinguished from the rest of the mix. And again, I don’t think this is a bad thing and quite possibly something that was intended on the mix. For example, the opening sequence to Todd Terry’s Blackout album has a load of synthy noises and a Japanese (I think) spoken female vocal. I have heard this vocal mush into the background in the past, but with the X3s it is somewhat separated from the rest of the mix – this is what I mean by etched. Speed Kills by Gil Scott-Heron and Brian Jackson has the two vocalists entirely in harmony but with the two distinct vocal styles (inflections) being clearly audible. There is something about Gils Scott-Heron’s vocal that is at once both beautiful and imperfect and this imperfection is heard particularly on the first word of the tract (speed) and the way the s is pronounced slightly as “shpeed”. I love that the speakers allow me to hear this imperfection because it is often the imperfections in a piece of art that make it perfect and not having the tools to hear those imperfections can make the art less in some way. I know that all sounds a bit “Pseuds’ Corner” but I thought it worth mentioning as it is a thing the X3s allow you to hear. And I suppose that is what a good speaker allows you to do – see into a mix and into a recording and bring out details you may have missed previously. I was searching for records from our review playlists
and came across a track I used to use a hell of a lot but which hasn’t been played for a while. The track is Hardfloor’s Acperience and whilst it’s not been played for a few months, it is a track that I have played hundreds of times. The opening kick is very reverby and this comes across very well with the X3s, with the repeated 303 five-note underpinning bassline enforcing and adding to the bass weight. Nothing here is overblown or pushed to sound mushy, which it often can. Once the Hardfloor boys start playing with the filters on the 303s the sound cuts through the mix as it should and my only criticism here is that I found myself reaching for the volume control to push the dynamics a little further. One thing I did notice with the X3s was that there is a definite and quite narrow sweetspot when listening to the speakers. Get yourself bang in the middle of it and everything snaps into place perfectly and this continues for about a body width either side. This is not particularly unusual for loudspeakers and I think that most folk who sit and listen critically to a system will do with themselves selfishly placed in the hotspot. Anyway, sit yourself in that spot-lit seat and you are rewarded with a fabulous spectacle laid out before you. A Børresen M3 on The Cheap, Perhaps?
When we put our weekly news roundup video up on YouTube that mentioned that we would be publishing the X3 review a reader/viewer commented that they had heard them at Munich High End and had to check with the rep’ that there wasn’t a zero missing off the price ticket. Now, I think that’s overegging it somewhat, but the X3s do have a good deal of what I remember about their much bigger and much more expensive siblings. There is clearly a sonic signature that is Børresen’s own, and it has clearly been passed down the line to the X3s. My abiding memory of the M3s was that the bass was very tight and very taut, and yet punchy and powerful with an extended top-end and a clear and highly intelligible mid-band making for a wholly integrated and “together” sounding speaker. The X3 does this too, but is not as refined (in the final analysis) in the finish of the speakers or in the overall sound. It’s a little unfair to say the X3s are a little ragged round the edges because in reference to the direct competition they certainly are not, but in comparison to the M3s and what I recall of them, they are. But then we are comparing apples and ostriches (sic) here and there is that 240K price difference that ought to be men-
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tioned. Heard the M3s and dream of owning them but know you will never have the dosh, shy of a lottery win? Then buy the X3s or (I’m guessing here) the X6s. And I suppose that could well be the conclusion to the review of these speakers…but I’ll write an extra one, anyway.
perhaps seen the option for wooden finishes. However, beggars can’t be choosers and Audio Group Denmark make no secret of these cabinets (not the drivers or crossovers) being built in China to keep costs down and get the quality of cabinet they wanted - there’s no way they could get this quality of sound for this price had the cabinets been built in Denmark.
There is a relatively narrow band for the sweet spot, but once in it you are a happy bunny and won’t want to give it up!
The main takeaways from my time with the X3s is that they offer a dynamic and detailed listening experience with an imaging quality that is wide, what I consider to be accurate and not exaggerated. However, this is in the sweetspot and the sweetspot band is quite narrow...ish.
They do prefer an amp with good current delivery in my experience of them and so this should perhaps be a consideration. With the Electrocompaniet amp that should be well out of their league, they performed brilliantly.
I think it’s fair to say that once they are run-in properly these speakers impressed me a great deal and that most of the criticisms of their performance I have made have been me specifically looking for faults in them – that’s my job, after all!
Bass may not go as low as some would like (I’m not sure who this would be, to be honest), but they had no problems moving air in this room and so despite being a big speaker, they could work in smaller rooms, though you would need to look at them as they are physically deep speakers and have rear-firing ports.
Would I buy them? Yes, in a heartbeat, but I want to hear the X6s in our system first!
NIGGLES
Only one set of binding posts will irk some people, but I don’t see it as a problem, and it does mean that the two parts of the crossover aren’t connected by those frankly crap connectors that we see on pretty much all loudspeakers with more than one set of posts.CONCLUSION
I have absolutely no doubt in my mind that the Børresen X3 loudspeakers are fully deserving of HiFi PiG’s top award. They are superb!
AT A GLANCE Build Quality: Well put together but only available in black and white
I think it’s fair to say I liked the X3s from Børresen a great deal and I do think they set the current standard for speakers (that I’ve heard) at this price, and I do think in that respect they could well be seen as game-changers – they certainly had me considering what the future holds for our reference speakers in the big system. However, for the moment that crown still belongs to the Audiovector R6 loudspeakers, though I’m not sure the difference is fifteen or more grands-worth of better and I am looking forward to hearing the Børresen X6s.
Overall, an excellent fit and finish
The finish on the X3s is excellent but you are limited to black or white and I’m not sure that is going to please everyone, and I would have liked to have
Soundstaging is excellent but not exaggerated and this may underwhelm some people who want fireworks, bells, and whistles from a loudspeaker
Sound Quality: Tight and accurate-sounding bass performance that is reminiscent of what I enjoyed so much about the Børresen M3s Fairly narrow sweetspot but they do have scale to their sound Extended highs but not in any way harsh sounding
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A beautifully integrated mid performance that lets you hear very fine details, particularly in vocal performances
Tops are extended and detailed without being at all harsh
Overall, a very integrated sound
Realistic soundstaging when in the sweetspot
Happy playing anything and everything from reggae to female vocals
We Didn’t Love So Much:
Value For Money: They are not a cheap speaker, but I think they offer outstanding value for money given their performance We Loved: These speakers have a sonic performance that belies their asking price Bass is deep enough for most situations and has a quality that I loved for its tight and accurate sound
Narrow sweetspot Limited colour availability Elevator Pitch Review: Audio Group Denmark’s Børresen X3 loudspeakers have cabinets built in China, but with other components being made in-house in Denmark to keep prices low but quality high. Sonically I think these speakers perhaps set the new benchmark at 10K if you have the room to accommodate them and I urge you to audition them if you have the space. Price: 10,000 Euros
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T + A SOLITAIRE S430 LOUDSPEAKERS
German manufacturer T + A’s Solitaire S430 loudspeakers are These are a medium height loudspeaker standing just under 120cms with 2 x 220mm bass drivers, 2 x 150mm mid units and a 50mm magnetostat tweeter. They are a true three-way design using a crossover plumbed into the Hifi PiG that T + A calls a Fast Signal Response unit. This crossover is a distinct reference system for feature of these speakers with each band (bass, mid, and treble) having the ability to be fine-tuned via a series of switches in the back of each speaker. The complex crossover and driver complement give a a few weeks. How does sensitivity of 86dB and so I would suggest they should be paired with this 25K loudspeaker an amp with ample grunt to power these - our Electrocompaniet AW 800 M worked beautifully with these speakers and I’d not hesitate to perform? recommend them as an excellent pairing. BUILD OF THE T + A SOLITAIRE S430 LOUDSPEAKERS
You do get magnetic grilles but for me hiding the fronts of these beautiful-looking speakers would be something of a crime and I left them off for the duration - I don’t think I even unpacked them. The drivers are all housed on an aluminium front plate with no screws visible and each driver has a slight wave-guide created for it by the front panel. The cabinet itself is beautifully finished and definitely exudes an air of these being a luxury item. This luxury feel carries on through the high gloss black finish that these speakers came in - they are available in High Gloss Macassar and Arctic Silver and in addition, the customer can choose between a black or silver aluminium baffle and a black or a silver grille - and the speaker posts that are amongst the best I’ve encountered on any speaker! The build on these speakers is absolutely stellar and they do look like a premium product, of that there is no mistaking. They are definitely as well put together as the Audiovector R6 we have at home and better finished than the Audio Group Denmark speakers we had in recently… though the latter are a ten grand speaker and so not a fair comparison. This level of finish matters to a lot of people and whilst I’m sure there are going to be people out there who claim it is only the sound that
Reviewed by Stuart Smith
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matters then I’m afraid that (to many) this simply just is not the case for many consumers. As a bit of a departure, let’s take watches as an example. A mechanical automatic watch will keep worse time than a quartz watch and certainly worse time than your smartphone, however, people still go out and buy them. The movements matter, of course, but the level of finish on a watch is also paramount to those looking to spend large sums…and the same is true for speakers, turntables, amplifiers, handbags, motorcars…whatever. Anyway, the T + A speakers are gorgeous to look at, but how do they sound?
SOUND OF THE SOLITAIRE S430 BY T + A For the purposes of this review, the speakers have been hooked up to our Electrocompaniet power amp which was being fed by our Vinius TVC preamplifier. The sources were a Technics 1200G with Hana Umami Red through a Music First SUT and Phono-stage, or a STACK Audio streamer through a Lampizator DAC. The speakers were run in for a good couple of weeks or so mixing through them, and whilst this is no way to evaluate speakers, what I have found is that you do get a good feel for their make-up and the better the speaker is, the easier it becomes to accurately mix records. I suppose this latter point is down to (in part) being able to hear small nuances in a record. Anyway, I digress. The tweeters on these are called the Mag50 magnetostat that T + A say are based on the TPM 3100 and TPM 2500 headphone drivers, which I found really interesting. Pulling from the company’s website this unit’s “internal construction consists of a WaveArray conductor - developed specifically for this application - whose conductive aluminium is etched onto a carrier film using a photo-chemical process. The slightly undulating course of the conductors is carefully calculated to prevent harmful linear modes. A Draft Control System, adopted from the Solitaire P-SE and modified for use in loudspeakers, ensures that the flow characteristics in the Mag50 are efficient, and turbulence at the magnets is minimised, so that even the tiniest negative influences are eliminated. In spite of its length of just 50 millimetres, the ten magnets - arranged in two rows - of the Mag50 constantly deliver ample drive power for impressive sound levels, while the harmful distortion normally generated by small magnetostats is elimi-
nated before it can develop, by the deliberate modulation of the magnetic field …” T + A compare this to an electrostatic unit without having the need for a generator that is usually needed for such a driver. I get this analogy of the electrostatic headphone driver and there is a very crystalline quality to the upper frequencies. That is, the very upper frequencies are sparkly and fast with a real sense of what is going on around the instrument or sound. This leads to, for example, the guitar on 10,000 Maniacs Candy Everybody Wants to cut through the mix and appearing somewhat distinct from the rest of the mix, though not artificially so - there’s layering of the sounds in the mix which you can hear and this leads to detail and a sense of space around instruments. This effect is apparent also on Doug MacLeod’s Black Nights’ guitar, where the twang and tone of the steel string cuts through the very simple mix. On the same tune, there is a shimmering brushed cymbal sound and this too cuts through the tune rather than feeling lost and barely perceptible. I am not suggesting that the treble frequencies are pushed to the fore (they aren’t) but if you feel the need to look into a tune’s makeup, then you can and you can with ease in this frequency band. Overall, I’d say that there is a naturalness to this tweeter’s implementation that is both detailed and yet relaxed - the two don’t always go hand in hand and I have found some other speakers sound pushed here to create a sense of detail that becomes tiring after long listening sessions. Mid drivers on these speakers get called a Symmetric Directivity system (SDs) that works with the tweeter discussed above. I suppose I ought to have discussed the mid and treble as whole as I believe that is how T + A conceived this SDs, but for the sake of the review process, I have split them up. The Solitaire S430s use two 15cm aluminium drivers so that the excursion of each driver is halved for the same effect (volume), which T + A says reduces overall distortion. There is also a degree of directionality built into the speakers’ mid and top system (as the name suggests) and the goal here is to reduce the effect of the room on the performance and (specifically) the sound staging of the S430s. This is interesting, though its efficacy is difficult to estimate in this already well-treated room. However, there is a definite feeling that from a spatial aspect, you are listening to a speaker that throws a convincing soundstage between the two speakers AND somewhat beyond them to the sides. I initially set these speakers up as I usually do with them pointing directly to where my ears are - that is, the left speak-
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er’s centre is pointed directly at my left ear and the right speaker to my right ear. I don’t know if this is how T + A meant them to be set up, but it works very well and sonically there is a kind of bubble of a stage thrown into the room. It’s kind of how I recall the earlier AudioPhysic speakers sounding with regard to sound staging - this is a very good thing, by the way! There’s also a sweetness to the mids that had me drawn to listening to less electronic music and more to the likes of Roy Harper and other more stripped-back kinds of music. However, when Harper gets going on tunes like Cherishing The Lonesome, you get to feel the electric guitars and can hear into their tone and make-up -again, this is a very good thing. A word about positioning. I had the speakers set up as described above and a way from both back and side walls, but once placed I didn’t feel the need to fanny about fine-tuning their positioning and the downward firing bass port is a sensible move for T + A to adopt. In a room where the speakers need to be placed close to back walls then I don’t think users are going to experience and issues. Yes, if placed in corners the bass is going to be reinforced somewhat, but that goes for all speakers in my experience and you can actually use this to your advantage in some case. Anyway, you can play with the bass tuning (and mid and top) with the switches on the back. In the mid-band, the T + A speakers are fantastic and match any of the reference speakers we have to hand. And I do think this is perhaps something to do with how they have been voiced to appeal to a more “audiophile” audience, for which mid-band is king. In this respect T + A has played something of a blinder with these speakers, particularly with the way in which the upper-mid-band integrates seamlessly with the output of the tweeter. With vocal performances, they come across as being as natural a speaker as we have had in the house. There is an unforced and natural way in which vocal performances are put out into the room with these speakers; a sort of close your eyes and let the performance wash over you kind of ease. There’s also a feeling of uncoloured speed to the mid-band with these speakers. I don’t really know if that last statement makes sense but what I mean is that nothing hangs in the air other than the relevant effects and spatial cues of the recording space - it’s a very monitor-like feeling.
Let’s talk about the bass on the Solitaire S430s. If I’m comparing our reference speakers (the Audiovector R6 in this case) then I would suggest that the T+A lack the ultimate bass slam of the R6, but then the R6 do benefit from an isobaric bass system, which I feel adds something in the heft department that the bass-reflex system in the T + A speakers does not (quite) match. This is not to say that the T + A speakers do not go low, they do and they are very pleasing, rather, I am suggesting that the R6 have more slam and overall a more visceral quality to them. Now, this is merely an observation and me expressing my own personal preferences for the R6 in this area, others may prefer a less “in your gut” bass experience offered by the Solitaire S430s. Perhaps some will suggest that the bass on the T + A is more accurate and definitely on tracks like Pan-Pot’s Bow and its very low and bendy (almost UK garage but not quite) bass you get the feeling that the speakers are in full control and there are no hanging bass sounds - yep, they are a fast speaker across the board! Certainly, on the kind of music I found myself down to using these speakers, the bass performance was never something I thought was lacking in any way. However, switching the styles a little to Dusty Kid and the track The Woodpecker you get the hats centre stage and all the rest of the mid/high sounds at the beginning of the track, but you also feel a good deal of the heft of the track when the acid line and kick come in at bang on a minute. This isn’t nightclub bass, but it is tight and controlled and certainly fills the room. Some will really like this somewhat less in-your-face quality and some will find it a little more tame than they are used to. I put myself in the latter group, but then regular readers will be well of where I stand on this. Actually, with all that said, I’d certainly not whine about having these on the system and banging out the techno. Again, I’d say there is a monitor(esque) feel to the bass on the Solitaires. And you can push these speakers to volumes you’d not want to for long periods without them throwing a fit and getting all confused. The crossover and bass work very well together with the last third of the Woodpecker track I mentioned banging along like a good-un. Speed and control are to the fore and there is a certain degree of refinement at play, but the Solitaires can bang the tunes out too. Actually, this track sounds pretty awesome through these speakers and my preference for the R6s becomes
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only a marginal preference….though it is still there.
What is better about these speakers than the R6 is a sense of accuracy throughout the listening experience and again I would perhaps describe them as being more akin to a monitor loudspeaker than the R6 are. I’d be happy to use these in a studio environment for mixing techno down and would prefer them in that scenario to the R6 reference. Around the back of each of the speakers on the backplate are three switches with each switch having three positions. The bass, mid, and treble are thus tuneable to your own taste and these certainly do have an effect on the sonic characteristics of the speakers. I think this too is a very sensible feature for T + A to include. To an extent, this feature allows the Solitaires to become all things to all people and personally I really enjoyed playing with this. I also suppose that different people, and specifically the tinkerers amongst us, will love playing with these and will perhaps have favoured positions for different genres/tunes. It also gives a degree of tunability with regards setting the speakers up with regards to how your room sounds. Clever move!!!
NIGGLES I genuinely don’t think I can find fault with these speakers other than me expressing a preference for our R6’s isobaric bass system…but I’m going to try anyway. Price is going to be an issue, but the fit and finish is certainly quite luxurious.
the drivers and yet allows instruments to stand alone in the mix. I also really liked that there is a degree of tunability of each of the frequency ranges with the switches on the back of the speakers. Soundstaging is excellent and not overblown - akin to how I remember the best AudioPhysics of yore. The speakers are easy to position too and so will find favour in many homes. I am awarding these our highest award and I am doing this because they are a seriously good-sounding speaker that is finished really beautifully. If you can afford them, have a bit of space, and the associated amplifier and other kit then I urge you to give these speakers a listen. You will not be disappointed!
AT A GLANCE Build and Features: Fabulous build quality and great-looking Relatively compact Well-thought-out design features including a downward firing bass port that eases placement issues to a degree Switches on the back panel allow a degree of tuning to taste and room Sound Quality:
The Solitaire are 86dB sensitive and so will definitely need an amplifier that has some grunt to it.
In many ways, these speakers have a monitor-like quality
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Excellent but not over-exaggerated sound-staging that I thought reminiscent of what I remember the early AudioPhysic speakers to be like
I REALLY enjoyed my time with these speakers, both when running them in whilst mixing on a set of 1210s and whilst putting them through their paces in our reference system.
Don’t have quite the bass slam of our Audiovector R6 but that is not to say they are bass-light in any way
The speakers are beautifully finished and technically they are excellent, with a good deal of thought having gone into each aspect of their make-up.
An etched quality to the sounds within the mix that allows the listener to separate the mix if they want to
I loved the way the crossover seamlessly integrates
Relaxed and easy to get on with but also detailed
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and exciting when called for
speakers
Value For Money:
Bass slam is not as good as our reference speakers
Certainly not what would be described as a budget loudspeaker but their build and sound quality are commensurate with (and in some cases well beyond) other speakers costing this amount
You need a beefy amp to get the best out of them
We Loved: An easy and relaxing speaker to listen to with the right kind of music but also a speaker that has the ability to play rock and techno with ease Great styling and build quality We Didn’t Love So Much: The cabs are a bit of a fingerprint magnet Quite expensive but in fairness no more expensive than similarly (and lesser) specified and finished
Elevator Pitch Review: The T + A Solitaire S430 25K (euro) loudspeaker is fairly compact, has a downward-firing bass port, and tuning switches to allow use in a wide variety of homes. Its finish is excellent and sonically it performs amongst the best at this price, though you will need a gruntsome amplifier to get the best out of them. Price: Germany: EUR 25,000 inc. 19% VAT UK: GBP 23,500 inc. 20% VAT USA: USD 29,900
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CLOSER ACOUSTICS PROVOCATEUR 300B AMPLIFIER AND FORLANE WIDEBAND LOUDSPEAKERS Closer Acoustics ProvoI don’t normally get into the whole reviewing several bits of kit within one review but for this review, I thought I’d make an exception…kind of.
cateur 300B amplifier I’ll get into more detail later but in very basic terms, the Closer Provoand Forlane loudspeakcateur Signature Edition is a 300B valve amp giving out just 8 Watts of power and the Forlane speakers are a single driver Wideband model ers are made in Poland with a sensitivity of 94dB. Now, I woke at 4 am (yes, I know) knowing I was going to be writing this review up today and for some reason my and for many will rep4 am brain thought it was the right time to think of analogies to compare this set-up to. Where did my ‘milkman o’clock” noggin get to? resent the audio-nirWell, dear reader, this is how your intrepid audio reviewer spends the wee hours when sleep escapes them. If you can imagine a big power vana that is SET ampliamplifier (I had a D’Agostino relentless in mind) paired with a pair of high-end, speakers (I was thinking Wilson Chronosonic XVX) then I fication and wideband would suggest that they are akin to a modern day, top-of-the-range Bentley motorcar; limitless power, lots of up-to-the-minute technology loudspeakers. HiFi PiG’s onboard and a somewhat ostentatious but beautiful design and finish. On the other hand, a 300B valve amplifier paired with a pair of wideStuart takes a listen to band (full-range) speakers is probably more comparable to a Mazda MX5 Miata with its more lightweight but agile performance coming see if he still likes this from a much more modest powertrain. Actually, the car I originally had in mind for the latter was a 1962 Lotus Elan, but I wasn’t sure most particular slice of readers would have got that reference and I’d argue that comparing the really beautiful finish on the Closer offerings to the Lotus would audiophile heaven. have been somewhat unfair to the Polish brand. As an observational aside, new Bentleys tend to be owned by (perhaps as much a comment on the sheer financial outlay involved) by the well-healed looking for luxury and automotive excellence, whilst Mazda MX5 Miata (and even more so the Lotus Elan) tend to be driven by auto enthusiasts looking to get the biggest thrill for their dollars spent. The latter is likely to tinker somewhat to get the best performance out of the car, whilst the former is likely to expect the car to work flawlessly and have regular services carried out by an authorised main dealership. It’s a crude analogy, but you get my drift. In some ways, a 300B amplifier and Wideband loudspeakers has been (or rather was at one point in my audio journey) my holy grail of HiFi and I did run a pair of Lowther Fidelios with a 300B PSE (Parallel Single
Reviewed by Stuart Smith
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REVIEW Ended) amplifier for a good old while, and I did love WHO ARE CLOSER it very much. Without going into too much detail about that specific set-up or trying to second guess ACOUSTICS my thoughts on the Closer pairing, I thought the Lowther/300B kit I had had a purity of design that carried through to the sound I was hearing. It was stripped back and without the negative effects of a crossover that might cause me to sense the music as being metaphorically strangled. This set-up wasn’t without its negative aspects and I distinctly recall listening to Rumours by Fleetwood Mac and observing that Songbird had a rare purity to it, but with other more rocky tracks, something wasn’t quite right. And that is when I got back into multi-driver and more conventional loudspeakers, despite their devilish crossover networks. That said, I did keep the 300B amplifier for a good while after the Lowthers were gone and remember enjoying its 16W a side (it had two 300Bs per channel as opposed to the Closer’s one per channel) with a pair of Victor SX7 loudspeakers. So, long intro short; I have always loved the idea of the simplicity and purity of concept of the valve amp and wideband experience, but, for whatever reason, I have found myself settling on gear that is more complex and less simple of design and concept. However, in the back of my mind, there is still something that tells me that this more simplistic and natural (Zen, perhaps?) approach to the reproduction of music is somehow more connecting and more correct. I should also lay all my thermionic cards on the table and admit that after owning many valve amplifiers, it is the 300B that remains my most favourite. There is something about the way the tube plays with that all important presence and mid-band of frequencies that, to my perception, is so agreeable and engaging. The KT120, 150 and 170 tubes have a good degree of the flavour of the 300B but with more power, but it is still the 300B that holds a special place in this old audiophile heart. With regards to Wideband loudspeakers, then my experience has been a mixed bag; they do and without doubt, have a different presentation and sound to more conventional speakers and they are compromised in some ways, but when they click into place with ear and brain they can offer up a sonic experience that is astonishingly engaging and in tune with how I think our senses perceive music. With that said, some people will love the Wideband experience and some will only hear its flaws.
Closer Acoustics is a Polish manufacturer headed up by founder and CEO Jacek Grodecki. I think we first encountered the brand at the Warsaw show five or six years ago and I have previously reviewed their teeny OGY speakers, another Wideband design that I thoroughly enjoyed - I’ve also been following Jaceck and his team on YouTube in the last few months as they have been creating an open-baffle bass extension unit for OGY and which we got to hear at the recent Warsaw show. They sell the Provocateur amp in three guises, several sets of speakers, EMS drivers from France, a Phono Preamplifier called Flo, and a power supply for field coil drivers. Closer Acoustic is not a huge conglomerate of a company, rather it is a company created by an audio enthusiast to make quality products for other audio enthusiasts. If you have ever visited the Audio Video Show Warsaw you will understand that the DIY community is huge in the country and out of this DIY community has emerged some brilliant companies and brilliant products. To highlight this point, in our reference system we have a DAC by Lampizator and a preamplifier by Vinius, and in our second system we use Quailo speakers.
THE FORLANE SPEAKERS DESIGN AND BUILD The Forlane loudspeakers by Closer Acoustics are their smallest floor stander and measure 120cm in height with their plinth. They are made of solid oak planks with the internal parts being made of Baltic birch ply. Their design is a “distributed resonance” design and the output tube/horn/line/call it what you will has no damping within it whatsoever. Closer says that the “complicated internal construction containing carefully designed channels ensures the enclosure stiffness and that the standing waves are virtually eliminated which results in a very clean and fast bass response. No need for using any damping materials behind the drivers preserves the liveliness of the drivers especially in the midrange”. The company also say on their website that the speakers are an obvious choice for Jazz and classical and all good recordings (except any heavy metal and related universe) at reasonable volume and add that chillout and ambient, film scores, electronic music, R&B,
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soul, classic rock and pop, blues, folk and ethnic music etc. will also be handled well. I listen to some fairly industrial techno but that’s as near to metal as I get these days, but the comment on the Closer website makes me suspect that they are hinting that the Forlane speakers are probably best left unchallenged by more aggressive styles of music and needless to say I will be testing them with some of just that style of music. The single driver in the Forlane is the EMS LB7 17cm full-range unit without a whizzer cone, an attempt to minimise distortion and colouration. Obviously, the speakers have no crossover, but they do have a phase plug in the middle of the driver. They are an 8 ohm load, 94dB sensitive, will handle 30 Watts, weigh 19kg, and have a response from 40Hz to 18kHz. Their shape is narrower at the bottom than the top with the back panel being sloped and the front panel flat. They look exceptionally well put together and come with a plinth that allows the mouth of the port to exit into the listing room. Overall they are a compact and good-looking loudspeaker that will fit with modern home decor without problem. The plinth on which the FORLANE speakers sit is connected by 4 bolts and with each bolt having a plastic tube spacer creating a gap between the plinth and the speaker to allow the downward firing port to exit into the room. A couple of things here: the plastic spacers (small tubes) work but I’d have preferred to have something more in-keeping with the speakers (brass, perhaps).
300B PROVOCATEUR SIGNATURE EDITION DESIGN AND BUILD First, let me say that the packaging that this amplifier came in is the best of any we have ever had here at HiFi PiG Towers…at any price. I don’t know whether this is what the consumer would get when they buy the amplifier but it should be and I would happily pay the couple of hundred quid extra for what is essentially a purpose-made flight case. The amp is in its own space at the bottom of the flight case and tubes and other bits and bobs have their own separately opened space at the top of the flight case - kind of two cases in one. Getting at the amp is made easy as the whole of the top of the case lifts off facilitating its easy lifting. For the purpose of this
review, I actually used the flight case as a stand for the amp and I think others would do likewise for that kind of cool industrial aesthetic. If it’s not the standard box the amp comes in, then Closer should offer it as an extra! There’s no escaping the fact that in the iroko finish we were sent this is a very good-looking amplifier, and how cool is that flightcase? This is a SET amp (Single Ended Triode) and the output per channel is 8 Watts. The design of the amplifier is by Robert Rolof of Rolof Audio who Closer work with on all their electronic projects. It’s a line-level amplifier with four inputs; on this example there are three RCA inputs and one XLR input but the standard is with 4 RCAs. There is 48 position stepped attenuator knob on the front right of the amp and on the left there is a knob for selecting the input. The attenuator knob is motorised and can also be controlled by the included remote, a small and simple affair but very nice, none-the-less. T he casework is beautifully put together and kind of splits into two halves - have a look at the pics. Under the front is the master on/off switch and the speaker binding posts on the back panel are of a very good quality. On the SE model the output transformers are “amorphous core” models as opposed to the standard transformers on the base model. Polypropylene caps are used in the signal path and power supply circuits whilst electrolytic caps are used in the heater circuits. Tubes on the Provocateur are a single 5U4G, a couple of 6SN7s and, of course, the pair of 300Bs.
SOUND OF THE 300B PROVOCATEUR AND FORLANE LOUDSPEAKERS For the purposes of this review I had the amp being fed by our Lampizator DAC which was itself being fed by a Stack Audio streamer with Ansuz switch. In this instance, I used Chord Company speaker cables and Cardas XLRs with a Tellurium Q USB cable from streamer to DAC. The switch used is the Ansuz switch we always use and everything other than the amplifier was put through a Torus Power mains transformer.
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I think it’s best to treat this as a system review and to treat the FORLANE and PROVOCATUER as a package that is designed to bring the very best out of each other. The 8 watts of power on this amp kind of precludes it from working in this big room with any other speakers we own other than the Avantgarde DUO XDs and I retired them from review duties some time ago given their active bass. There is a real speed and immediacy with these speakers from upper bass to the upper the upper-tops that allows you to really feel the music. Bass is tuneful and fast too, but if you are expecting these speakers to be able to dig the depths then you will be a little disappointed, I think. However, I did play some fairly heavy rock (Space Bastard by Hawkwind) and they actually didn’t do a bad job at all, with the bass line being easy to follow and there being good dynamics quite evident. Imaging is great with these speakers and you do find yourself getting drawn into that three-dimensionality of their presentation, particularly on the affected instruments in the mix.
Neil Young’s Unplugged album is more in keeping with where the FORLANE speakers’ strengths lie and this was a treat to listen to with this pairing. There is a real sense of the artist being in front of you and everything starts and stops on a pin. This speed allows the listener to really be drawn into the very specific nature of Young’s vocal style and his guitar playing. What is also very apparent with these speakers is the acoustic of the room on the vocal and harmonica. Mr Soul is a favourite of mine and I have listened to it on this and the Decade triple album (about which I wrote in my “O” Level English exam, as it happens) dozens and dozens of times. I have to say that listening to the CLOSER partnership is as good as I’ve heard it sound. The sense of Young’s frailty in this song comes across in spades on this system - he wrote it in hospital after experiencing and recovering from an epileptic episode on stage with Buffalo Springfield. The steeliness of the guitar strings and the occasional way Young hits the strings in a kind of “fuck it” kind of style also comes across really well. Instead of skipping tracks like I often do when listening to review kit, I let the whole record play and enjoyed it a great deal. I’m not going to talk about each song I listened to but want to try and convey a sense of there somehow being a “better” connection to the songs being sung than with my standard kit. This is not what I would consider audio perfection in the strictest sense (high-fi-
delity), or perhaps it is and I’m finding myself drawn to the concept of 300Bs and widebanders again for their purity of concept. I barely recall my time with the Lowthers and 300B PSE amp I had in the past, but I’m sensing the same kind of emotional connection with the music. There are no bells, no whistles, and certainly no fireworks going on here. What there is going on is music and a sense of rightness that I think you will either “get” or you will not click with at all. For those who do click with this feeling and sound, I think I would consider this pairing to be a really good example of the magic that the 300B and single-driver speakers can bring to the party. The lack of crossover in the signal path allows the amplifier’s character to come through and what that brings is the music seeming to be more natural, uncoloured, and pure. I’d been waiting for Hurricane to drop on this record as I think it’s one of my favourite records of all time and this is perhaps my favourite version. The simple organ arrangement and yet again the frailty and emotional quality of Young’s voice comes across really beautifully, as does the harmonica towards the end of the track. Helpless has a bit of piano on it that is a bit plonky, but it makes absolute sense to me whilst listening not the Closer partnership - really beautiful! This sense of rightness to this kind of music on this system is a hard one to put into words and I confess that I am finding this a difficult review to write as, with the right music, it’s difficult not to just allow oneself to fall into the recordings and connect with the artist - and I did just that with a lot of albums that I’ve not just sat and listened to in a long time. Now, this is pretty wooly stuff, I know, but what I’m trying to convey is a sense of connection and feeling. Anyway, upping the ante a bit I pop on the 100% Columbian album by Fun Loving Criminals. I chose this record because it’s poppy enough, but not too heavy so as to push these components beyond their comfort zone. The first thing that hits me is the snappiness of the snare with the sax floating above and in and out of the mix of Up on the Hill, the opening track. Detail and speed bring a whole load of information to the listener but I didn’t feel overwhelmed or that I was getting overwhelmed - there’s a feeling that the information is there but that it’s coming at you in a natural and organic kind of way. Yep, more wooly touchy feeliness, I know. I thought I’d really miss the bass on this record as it can be a pretty funky affair, but I didn’t. To give an example, Korean Bodega is a fairly full-on tune but the bass was there (just enough) and despite one
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driver having to do everything from top to bottom, not once did I think that the Closer set-up was losing its cool or becoming confused. Layering in the mix was really evident on these speakers and (possibly a cardinal sin to say this) by adding a sub I reckon they’d be brilliant to mix on. I finally got the line I’ve listened to a gazillion times but always mumbled along to - “He’s got the pizza and brew..sensational!” The electric piano on Back on the Block sounds as sensational as the pizza and brew at the Korean joint! And yes, they really rock out on Tenth Street!!! I’m not going to talk anymore about the music I listened to as I think I’ve said enough for you to get a feel for what the CLOSER amp and speakers bring to the party. They excel through the midband and presence band in my opinion and this never feels forced or that anything is being pushed to the fore. They offer up a natural sound that is uncoloured and allows the elements of the tunes you listen to shine out. Bass is a bit light overall, but it’s not something that you don’t become accustomed to very quickly and you do end up with the feeling that there’s a balance and rightness to the music you are listening to. With really banging techno then I do think you need to look elsewhere, but if you can live without the absolute bass (which is the foundation of much of this genre) then you can get right into the information that is there and particularly into effects.
QUIBBLES Only volume control on the remote and no source selector, but it is a nice little remote. The speakers really are more attuned to more relaxed and less “heavy” music, but the company do tell you this, and it is what is to be expected from this kind of loudspeaker and power-limited amplifier.
these that hard? Definitely no a Jack-of-all-trades speaker.
CONCLUSION The CLOSER FORLANE speakers are excellent in my opinion, but they are still a wideband/full-range single-driver loudspeaker and they do have a presentation that is different to the usual multi-driver speaker that many reading this review will be most familiar with. In this respect, they are likely to appeal to the enthusiast market rather than the mass market, but that has more to do with perception and what people have been exposed to over many years rather than any explicit “failings” on the part of these speakers. With the equally excellent Provocateur 300B amplifier, they represent a pairing that those who know and love tubes and widebanders will adore. To those less familiar, then I would suggest that a period of acclimatisation will be needed, just as is the case for any widebander or horn loudspeaker system. I can’t recall the previous 300B (PSE) and wideband Lowther Fidelios I owned years back, but I do recall that they were both wonderful sounding (for the most part) and different to multi-driver speakers and solid-state amplifiers. With the CLOSER pairing, there is a relaxed and easygoing feeling to how they get the music across to the listener. This is not to suggest that the sound of the amps and speakers is somehow soft or muffled, far from it; they are incisive and really detailed across the spectrum but with an unknown quality that seems to gel with me and how I like to listen to music. That detail is profound, but never overbearing and everything in the mix seems to be kind of as it should be. Speed is as obvious with these speakers as the detail they bring.
I don’t like the plastic spacers that separate the base from the main body of the speaker and allow the downward firing port to exit into the room. I think brass or copper tubes would look better and be more in keeping with the rest of the speaker and its finish. I spoke to Jacek at the recent Warsaw Show about this and he is already in the throes of changing them.
Do I recommend the CLOSER PROVOCATEUR AND FORLANE duo? Yes I do, but that comes with a couple of caveats: They are an excellent loudspeaker but they are not what most people will be familiar with. However, can I suggest that if you love music and want to get yourself closer to the artist in an emotional and real sense then you should try and get yourself in front of these! In essence, they are not going to be all things to all people.
In a big room, the combo struggles to get to loud volumes but how many people are going to push
Could I live with this set up? I could, yes, and I don’t seem to be getting the same (ultimately)
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compromised sound that I got with my Lowthers and 300BPSE amp…or rather how I recall getting a bit disappointed with them in the long run. These speakers can rock out to an extent, but their real strengths lie in presenting simple music in a pure and (I hate to use the word) simple kind of way. I genuinely found myself sat listening to records that I’d not listened to all the way through in ages and this is a testament, I think, to CLOSER’s ability to be detailed and informative whilst managing to retain an organic feel. I hummed and ahhed about writing this, but I kind of think that there is something going on with the way that the 300B and the widebanders work together that works with the human brain to make the sound that enters the listener’s ears feel more natu-
ral, unforced and in tune with us. I have no scientific proof for this and rely purely on my own experience. Wideband speakers tend to live or die on the choice of driver and its ability not to break up and get all confused - it is, after all, dealing with all the frequencies from top to bottom. The French drivers used in the FORLANE speakers are, to my mind, obviously a very capable model and able to balance that speed and immediacy you get from good full rangers with just enough bass to satisfy most types of music. I’m awarding the CLOSER PROVOCATUER AND FORLANE pairing our Five Hearts Award. But you seemed to love them so why aren’t they getting the Editor’s Choice award, I hear you demand. And the
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reason for that is that I do not think that they will be universally appealing and some people will not be able to live with their shortcomings, though the bass issue I was expecting and recall from many years ago with the widebanders and tubes I owned seems to have largely been resolved by CLOSER. Get yourself in front of a pair, sit there for a half hour, relax and I think you too will get why I have been so enthusiastic about this Polish coupling - no histrionics, no fancy fireworks, just music!
AT A GLANCE Build Quality And Features: Interesting looking speakers that are well finished other than the plastic spacers
that box with regards to construction that make this price add up a little more
Fifteen grand for the pairing seems to be a reasonable price point. It is not cheap but then you have to remember that these are not massed-produced products, they are, to my way of thinking, handmade products made by passionate individuals in small numbers and the price reflects this We Loved: The connection with the music is immediate I thought they would be awful with bass heavy techno and rock but they are not at all bad in a reasonable sized room so long as you aren’t expecting concert level volume
Decent enough remote
Musical is a term bandied about when some reviewers think a product is a bit shit but don’t want to say it, in this case the CLOSER coupling is a genuinely musical and engaging pairing that you really can just relax into
Sound Quality:
We Didn’t Love So Much:
The speakers are fast and present music in a very organic and pleasing manner that partners with the amplifier’s strength through the mids and upper-mids really nicely
Plastic spacers re a bit cheap but that’s being addressed
An amplifier that is beautifully finished and matches the speakers very nicely
However, not everyone is going to get on with the slightly different presentation. Or perhaps I should reword that to be “However, not everyone is going to take the time to get accustomed to their slightly different presentation” Bass is not trouser-flapping but it is there and it is present enough to satisfy most people in most modern-day sized rooms. It’s also fast bass without any horn honk Value For Money: The amp is from 6045 euros (7915 as tested) and whilst this is a good chunk of money, it’s not outrageous for relatively small boutique and artisan-production audio The speakers are 7000 euros and while this seems a lot for what could be seen as a pair of 600 euro drivers in boxes, there’s actually a LOT more going inside
They are Wideband speakers and they have limitations…but also benefits Elevator Pitch Review: A 300B SET amplifier and a pair of wideband loudspeakers coming from Poland and costing around 15,000 euros (plus taxes) that are beautifully built and look fab. The notion of SET and widebanders will split the community in two; for some it is a dream made in audio-heaven and for others it is a compromise too far. However, I think I fall in the middle of this but with leanings towards the audio-heaven side and I do get the appeal of these kinds of speakers. For musical engagement, transparency, and immediacy of sound I don’t think they can be bettered and the CLOSER pairing are a very good example of the type. Price: AMP: 7915 euros plus relevant taxes SPEAKERS: 7000 euros plus relevant taxes
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OPHIDIAN INCANTO LOUDSPEAKERS It’s been a while since I last reviewed a pair of Gareth’s Ophidian speakers, but I have seen and heard them at all the UK shows where he has exhibited. The Incanto are a recent addition, fitting in below the top-of-the-range Voodoo. The Voodoo I heard at Gareth’s home a couple of years ago just before he launched them are his flagship model at £16000. They are great but to be honest too big for my listening room. The Incanto are ideal because they are a smaller size and do work well in smaller spaces - I would even say perfect due to their dimensions and performance. In my current setup, priced at £6000, they match my system well.
Ian Ringstead takes a listen to the £6000 Ophidian Incanto Floorstanding loudspeakers.
BUILD QUALITY OF OPHIDIAN INCANTO LOUDSPEAKERS The pair od Incanto I received came in a very smart walnut finish (oak is the other option) with black magnetic grilles. Fit and finish were excellent as you would expect at this price. The front baffle sports three 175mm black anodised aluminium woofers that have copper shorting rings. The soft dome midrange unit is 50mm and is self-contained. The 22mm soft dome tweeter is a Sonomex high-frequency unit with a wide roll surround and a large magnet. As with all Ophidian speakers their Aeroflex port system is fitted to give a precise and controlled bass performance. The cabinet is braced and made in the UK by a specialist cabinet company out of MDF. The crossover uses Mundorf metal oxide resistors and air-cored coils for top-quality performance. The bottom of the cabinets has a moulded base to allow four spikes to be added for isolation if required. The Incanto is the successor to the P3 Evolution which was an award-winning loudspeaker. Trickle-down technology from the Voodoo loudspeakers is used here in the Incanto. The three bass drivers in combination with the Aeroflex system certainly allow the Incanto to produce very wide-scale sound and dynamics from a relatively compact cabinet design. The claimed bass response is down to an impressive 36Hz. The sealed midrange unit gives a smooth character to its output which is highly detailed and accurate. The tweeter is the same as the one used in the Voodoo, so it is very clear and smooth, but not
Reviewed by Ian Ringstead
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soft in character. The name Incanto means spell, charm, or enchantment... an apt name.
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SOUND QUALITY I used CD and vinyl as per usual to assess the Incanto’s and I started out with some Lee Ritenour to test their abilities. Ritenour is an American jazz guitarist who has played with many fabled jazz musicians including Bob James and he is a superb master of the guitar with a mixture of styles from pure jazz through to music with South American influences. The tonality of his guitar style is immediately obvious if you are a fan and the Incantos relished his music in all its forms. A wide and deep sound stage was projected into my listening room and as my amp and CD player warmed up things really got going. The detail was superb and pin sharp and I’d say as good as I have heard it in my room. Mid-range was sublime, and the top end sparkled with incision and dexterity. Bass was the biggest surprise with the Ophidian Incantos - my smaller Boenicke W5’s are excellent for their compact size, but cannot compare with the Incanto’s low-end reach. Heft is the word I would use. When you haven’t listened to a pair of larger floor standers for a while in your room you forget the differences the extra volume can bring to the party. I can live without the last octave, preferring accurate sound to a bloated bass, but when it is produced as cleanly as possible it’s a delight. Jazz music can be very complex but doesn’t have to be discordant and my jazz listening must be (what I would call musical) in nature. Bob James is another jazz musician whose keyboard skills are legendary. I heard Bob James a few years ago at Union Chapel in London with his band Fourplay and listening now using the Incantos brought back fond memories. Live music is vital for music lovers to keep them grounded and have a reference, but as readers probably know different venues can differ dramatically. It’s the same with live recordings and small venues will always beat large stadiums for realism and intimacy in the finished recording and the Incantos got this feeling across very well with the Bob James record. Live rock was supplied by Stevie Nicks on her album Live in Concert: The 24 Karat Gold tour. Her gruff voice is very distinctive, and I love it. On Rhiannon, for instance, the delivery oozes out of the Incanto’s mid-range unit and some speakers would make her sound as if she was shouting... but she isn’t. Bass
was deep and powerful with a grip making long session listening a pleasure. Gold Dust Woman is a classic track and has some poignant moments that keep you on the edge of your seat. However, I soon tire if the sound doesn’t gel or grab my attention and switch off. I didn’t with the Incanto’s. Other artists I tried were Syml and Haevn. I discovered these through my wife, and You Tube which is an invaluable source of new music. Syml is an American artist (Brian Fennell) and features clever vocals and lyrics often telling a story from his own life. He had Welsh parents, but he was adopted and his songs capture both his Welsh heritage and his adoption. The rhythmic nature of his songs comes through very well and I have a mix of CD and vinyl that are a real delight to hear. Syml is Welsh for “simple” and reflects his style of music. Many of the songs are quite sad and the Incantos portray that emotion easily, drawing out the raw feeling and emotion on the recording. Haevn is a Dutch group playing indie-pop-ambient music who have used orchestral musicians in a studio for a lot of their tracks and which are superbly recorded leading to a thrilling listening experience. The power and majesty of a string section never fails to move me and add a real boost to the music. Dynamically the swing in volume is very large and can surprise if you aren’t expecting it. Music should touch and move you emotionally and physically and the Incanto’s certainly achieve that goal. Vocals were again beautifully clear showcasing the studio recording quality. Every form of music I played shone through on these speakers and unlike some makes that are recommended for certain types of music the Incantos master all with few weaknesses.
CONCLUSION I loved these speakers and would highly recommend them to anyone in the market for a compact pair of floor-standers for around £6000. They are not perfect but cleverly cover their tracks to achieve a great result.
AT A GLANCE Build Quality:
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Very well put together and single wired terminals for a no-nonsense design Sound Quality: Excellent performance from a popular price range for serious music lovers after an upgrade
Excellent top-to-bottom range Transparency especially the mid-range Engaging sound We Didn’t Love So Much:
Value For Money:
Plain vanilla in looks like most speakers
£6000 is not pocket money but for anyone who can afford them well worth the outlay
Elevator Pitch Review: For the money superb. Ideal for smaller listening rooms where space is at a premium.
We Loved: Clarity
Price: £6000
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KANTO ORA LOUDSPEAKERS
KANTO ORA loudspeakers are a diminutive loudspeaker with builtin amps, Bluetooth, and a USB DAC. They cost 300 quid and in this review, HiFi PiG’s Stu pops them beside his I guess the best way to look at this review is as it having been written desktop computer and by someone who has bought the speakers pretty much blind, who has a wide experience of loudspeakers of most types, but with a limited uses them for listening experience of this very specific type of loudspeaker. to music, editing sound BUILD QUALITY AND FEATURES OF files, and more. KANTO ORA DESKTOP SPEAKERS I have heard several KANTO speakers a few times at different shows and I’ve always been impressed with the sound they get from what are pretty much all small and pretty inexpensive products. Obviously, when the company got in touch and asked if I’d be interested in getting a pair in for review, I couldn’t say no, despite them not really being the kind of products we would normally look at reviewing. The ORA speakers were being billed as a link between desktop speakers and studio monitors and given that I’d moved (partially to a desktop computer for video work) and that space on my desk was limited so my KEF powered speakers wouldn’t fit and the desktops I’d tried were, frankly, crap, though to be fair they were cheap, I thought “Why Not?”. My thoughts were the ORAs would fall somewhere between the two and I’d actually find them a useful addition to the computer set up for casual listening to tunes and YouTube, as well as for playback when cobbling videos together for HiFi PiG Television.
Packaging was excellent and everything you need to wire the speakers to your desktop is included in the box; a four-pin speaker connector that is six feet long means you can have the speakers up to six feet apart, a power cord, 8 rubber feet, and a manual. The speakers also came with a very useful pair of speaker stands (S2) that angle the speakers up to the listening position, though these are provided at an extra cost. Actually, my desk space was so limited that I had to have the speakers on their sides (tweeters to the outer edge) and they actually worked very well in in this configuration. A larger set of elevated stands were included in the review package (SE2) but I had no use for these. A third set of more traditional speaker stands is available called the SP9. All speaker stands add to the cost of the speakers and personally, I think the S2s that I used were absolutely ideal - they have
Reviewed by Stuart Smith
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a small footprint and, as I say, angle the speakers to the listening position. Whilst I’m on about the extras you can get with the ORAs, you can also add a subwoofer and when you do add one a crossover network comes into action automatically and only frequencies above 100Hz are sent to the ORAs, with everything below going to the sub. If you are into gaming in a serious way or aim to set these up for any kind of serious music listening, say in a bedroom or for the telly, then I would suggest that a sub would be a very useful addition. The woofer is shielded so there is no issue using them near to a TV.
I’d assumed that these would be a simple speaker with one amp in each speaker, but I’m told that the small 3-inch paper woofer and three-quarter-inch silk Dome tweeter are each powered by their own amplifier - one speaker has the amps in it and the other is essentially passive. The amps are unsurprisingly Class-D and you get 9W to the tweeter and 16W to the woofer with a peak output of 100W. These drivers give a claimed response that is down to 70Hz, which is pretty high and why I think that for anything serious with regards to music or critical listening, then the subwoofer is a must - I’m not using the ORAs for anything too demanding and any listening I have done with them has been on YouTube. The speakers are a bass-reflex design and there’s a port on the back of each speaker. Also on the back is a quarter-inch mounting hole which I didn’t really get the concept of, but someone more informed than me will be able to work this out. Inputs-wise you get an RCA line level input, USB-C input (24 bit/96kHz) and you even get Bluetooth. I ran them from the MAC MINI M2 going into the USB input and Bluetooth. I didn’t use the RCA input as I was perfectly happy with how I had them set up. These are a small speaker but not tiny: 10W x 14.1D x 17.5H cm (3.9” x 5.6” x 6.9”), though, as I said, the speakers were placed on their sides so they sort of peaked through the space between my desktop and the screen of my monitor. Actually, they were pretty much perfect in this setup. They weigh 1kg (2.1 lb) and are made of hard moulded plastic. They are kind of lightweight feeling but they are well made and whilst I wouldn’t want to drop them from any height (why would you do that) they were sturdy enough for how I was using them.
The power pack is a proper power pack rather than a wall wart and I liked this. Power (and the USB input) goes to one speaker (the left) and then the mini-DIN lead connects the two speakers. Set up was a simple affair and I had it all running in a few minutes. For Bluetooth connection, this was also a really simple affair with the pairing button being found on the back panel of the control speaker. On the front of the control speaker you have an on/ off knob on the front that also acts as the volume knob. There’s also an LED that changes colour depending on what you have connected to the speaker (Green for RCA, Yellow for USB (what I used), and Blue for when you are using Bluetooth.) The BLUE LED flashes when you are pairing and is solid when paired. Again, Bluetooth connection was a doddle and immediate with my iPhone - I did not test with Android. So that’s your lot with regards to the ORA and their makeup and setup. Overall I was pretty happy with the build of them, though they are a bit lightweight and a bit plasticky as I mentioned. However, that’s not the end of the world, and for what they are designed for I have no major moans. On the desk and as I had them set up they look really nice and are of a size that is unobtrusive, but they are big enough to feel like you are experiencing a proper loudspeaker.
SOUND QUALITY My experience of desktop loudspeakers is, as I say, limited and so you need to take this into account whilst reading this part of the review. For full disclosure, my experience has been a large desk with either full-sized bookshelves powered by amps, powered KEF X300As, or cheap and cheerful desktop speakers by the likes of Creative. My current desktop setup does not allow for the KEFs or bookshelves and the other desktop speakers I have tried (as I say, cheap and cheerful ones) have been awful and pretty much unusable. Full disclosure (again), when I opened the packaging for the ORAs I was not expecting much and was prepared for them to be little better than the crappy computer/desktop speakers I’d had fairly recent experience of. I expected them to fall well below the KEFs or the bookshelves
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I had used previously. However, I approached the review process with an open but sceptical mind and with the awareness that I needed something smaller than my KEFs but with acceptable sound quality. As I mentioned in the opening blurb of this review, one of the main purposes that I would use a pair of loudspeakers of this type is for recording and editing spoken word for the daily and weekly videos we put out on our YouTube channel. For this purpose, I need to be able to hear the recording clearly and pick out any pops and crackles, as well as be able to discern any background noise on the recording. I also need to be able to clearly hear the effect that any effects (nose cancellation in the main) have on the final recorded file. Long story short, I can report no issues with using these speakers for this purpose and I would say that for spoken word work of this type they offer a very decent and intelligible sound whereby I was able to hear enough of the recording to be able to decide if post-processing was excessive or not. Listening to music via YouTube was initially a bit of a disappointment with the speakers being very much emphasising the upper-midband and tops. However, I found that this was wholly remedied by turning the volume up a bit, and when I did the speakers came to life and became rather enjoyable. Listening to Grateful Dead’s Touch of Grey ( I do listen to this a lot being somewhat elderly) was excellent and I was able to hear enough into the recording for me to thoroughly enjoy the tune. The way I have the speakers set up on the desk (see pics) means that the sound does come from below, almost as if you are sat in the front row of the balcony seats (grateful) dead centre. There is enough of a soundstage thrown in a kind of bubble in front of the speakers to make you fall into the tunes you are listening to. Dusty Kid & Boris Brejcha - Psika (LSD) (also on YouTube) is a bit more of a testing track in the bass department and whilst the speakers don’t go massively low (70Hz) the near-field positioning of the speakers does allow you to fully enjoy the track, though for serious listening I would have liked the bottom registers fleshed out a bit with a subwoofer. However, any real complaint here would be churlish, I feel, and these aren’t a million miles away from the KEFs I mentioned, with the caveat that the KEFs do go lower. Sounds in the mix can be easily picked out in their place in space and you still get the effect of looking down on the tune…I actually was in the
way I was listening to them. This latter point could be remedied on a slightly bigger desktop set-up and using the higher stands. The sound is well-balanced, easy to listen to, and with enough detail in the playback to be foot-tappingly pleasing. To be honest, I didn’t really miss the lower bass all that much once I got into the music. They are detailed, quite smooth sounding, and difficult to overly criticise at this kind of price. Shepard Tones in the mix are easy to fall into and the whole experience of listening to this kind of tune (techno) was fab and pretty dynamic for such a small speaker! There is a caveat again here, and you do need to play music at a reasonable volume to get the best out of these speakers. Connecting to Bluetooth and playing the same tunes was an easy experience and a press off the button on the front of the control speaker put them into Bluetooth mode (though there is a button round the back that’s supposed to do this) and the connection was made pretty much immediately to the iPhone. Compared to the USB-wired connection, and doing a direct A/B as quickly as I could, I would suggest that the latter is ever so slightly less detailed than the USB connection. It’s not much and many will love the convenience of Bluetooth.
Overall, the sound of the ORA speaker is pretty detailed for a small speaker that costs this much and it is a punchy and pretty dynamic listening experience once you turn the volume up a bit. There is a reasonable soundstage thrown and this will certainly be enough to satisfy most casual listeners and even those who are looking for a second set of speakers. In a larger room, I think these speakers will get lost a tad, though they will go loud enough for smaller bedroom spaces and for use as supplementary speakers on the telly.
QUIBBLES They are a bit plasticky and do feel a bit lightweight. They don’t go very low without a subwoofer, but so long as you aren’t a gamer or looking for a full-range monitor experience for music making or listening, they are fine. For my needs, they did their job fine. I found the stands to be essential in my setup (landscape) and they are extra, but your setup may allow for upright (portrait) configuration, though I’d still suggest you would want the speakers angled to-
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wards you so the stands would be useful there too.
sound file editing I do
For music, they do need to be turned up a little to get the best from them and they do sound a bit thin at really low volumes.
Value For Money:
CONCLUSION I was ready not to enjoy these speakers and to write them off as a bit plasticky and crap. I was wrong. They are plasticky in their build quality, but sonically they are punchy and really enjoyable with enough detail to allow you to see into the mix. They are not a big speaker and they do not go below 70Hz without a subwoofer, but for nearfield listening such as on a desktop or on a shelf in a bedroom, they do sound to be bigger than they are. I sort of prefaced this review by saying that my experience of this specific type of speaker was limited (and it is), however, had I gone onto the World Wide Web and ordered a pair of these blind then I would have been well chuffed and would have left a glowing review from wherever I bought them from. They are not perfect and I think my experience with bigger and much more expensive speakers has spoiled me a fair bit, BUT for the purposes that I would likely put this speaker to, I am more than happy to highly recommend them!
AT A GLANCE Build Quality And Features: They are a bit plasticky feeling but are well-packaged Enough inputs to satisfy the target market and they have Bluetooth too For desktops, they are a good size but given I have a tiny desk I had to have them on their sides, and for this the stands were an extra cost Sound Quality: They do need a bit of volume but once they hit that sweet spot they are punchy and highly enjoyable for music and detailed enough to use for the basic
My initial thoughts were that these were pretty expensive for what is essentially a desktop speaker, but after spending a bit of time with them my opinion changed and I think they offer an excellent solution at a price that is more than acceptable We Loved: Proper power supply and not a wall wart. It does take up more space but I prefer a proper PSU Punchy and engaging sound Small form factor Cool stands that work very well but are an extra Well featured with several choices of input and Bluetooth onboard We Didn’t Love So Much: Plasticky first impression Don’t go super low and for standalone use, I would suggest that the sub is a must They do need to be turned up a little to get the best out of them At low volume, they do sound thin and tinny Elevator Pitch Review: KANTO ORA speakers are a diminutive desktop or standmount powered loudspeaker with an onboard USB DAC, RCA inputs, and Bluetooth. Used nearfield they offer a punchy and dynamic sound that will be plenty detailed enough for casual listening to tunes or shows on the internet, and for basic sound editing. I was ready not to enjoy them given I thought they felt a bit plastic, but I ended up really enjoying these speakers for their intended purposes. Price: USA - $349.99, UK - £299.99, €329.99
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MUSICAL FIDELITY NU-VISTA 800.2 INTEGRATED AMPLIFIER
Musical Fidelity release the latest iteration of their much loved Professional musician Antony Michaelson began Musical Fidelity in Nu-Vista powerhouse 1982 with the ‘Preamp’ (My first proper preamplifier - Ed) followed by a power-amp. Their first high-end power-amp was in 1986 with the integrated amplifier in A370, and which got me hooked on keeping up with the company. The following year saw the world’s first high-end DAC, the Digilog. the guise of the In 1997 the distinctive oval-shaped Nu Vista preamp was launched Nu-Vista 800.2. Janine with the diminutive metallic Nuvistor valves hidden somewhere inside. It did amaze me and was the start of the important Nu Vista series that Elliot takes a listen to followed in the 21st Century. the latest integrated In 2009 the significant 1kW output Titan was launched, and was something an inspiration for the first Nu-Vista 80, which sparked off amplifier for HiFi PiG. the introduction of the nuvistor valve some 16 years after the original Musical Fidelity is a company I have followed ever since my youth and then in adulthood when I worked in a HiFi shop selling them. I particularly liked the original 1984 A1 amplifier, which has now just been resurrected in its slightly larger Mkii guise. I owned the P150 power-amp design many years ago and which still sits in my own audio museum.
Nu-Vista.
The original Musical Fidelity Nu-Vista 800 of 2013 was always great, but over the years as some parts were no longer available to purchase it became necessary to start looking at the successor to this behemoth of an amplifier. Things that could no longer be available included the retro-looking display, so the new 800.2 has a redesigned front panel with a clearer display and new view options including the VU meters. The hybrid 800.2 uses the Nuvista 6SN1N tubes coupled with SMD technology, it has a new rewound transformer, revised power supply circuitry and a new remote with on/standby controls. Owned by Studio Tuning, based in Austria, and run by Heinz Lichtenegger from Pro-ject Audio Systems, the Musical Fidelity products are designed in Britain and made in Taiwan. Along with the 800.2, Musical Fidelity has introduced the new Nu-Vista PAS stereo power-amp (£21,999), PAM mono power-amps (2x £20,499), and the PRE preamp (£20,499), plus a CD and phono stage introduced earlier. Indeed, MF has spent over €1m and 3 years designing an impressive series of audio components. As
Reviewed by Janine Elliot
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such this is an important product range.
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NUVISTOR TUBES Having the 800.2 based largely on the separate PRE and PAM/PAS, the nuvistor tubes of this hybrid integrated amplifier are found in the preamp section. Nuvistor tubes were invented in the 1950s to solve the many shortcomings of conventional tubes. Looking very unlike conventional glass-covered tubes with their metal shell, these are highly reliable, have low noise, and have low microphony. There is also a good deal of consistency between each batch meaning less degree of performance variation. They offer low power consumption and have great performance. They have appeared in the past in a number of products, for example the Ampex MR-70 professional reel-to-reel recorder, and the AKG (and Norelco) C12a and Neumann U47 microphones. The four triode 6S51N tubes placed in the 800.2 are easily recognizable as being really small and lit up by LEDs at the rear of the unit.
BUILD AND FEATURES OF THE MUSICAL FIDELITY 800.2 INTEGRATED AMPLIFIER This is a very large product; though the two knobs are very large they make the product look deceptively small in photographs, with the unit measuring 483 x 187 x 510 mm. Yes, it’s deeper than it is wide, and when you add cabling you’ll need a very deep and substantial stand to put it on as it weighs in at 41kg. This is a beautiful-looking amp coming in silver or black. It is built like a tank, reminding me of OTT Krell monsters of yore, and designed to be the very last amplifier you’ll ever need, bearing in mind it took two of us to cart it into my listening area. This is a dual-mono analogue integrated amplifier with no phono or digital inputs. Inputs include one XLR and 4 RCAs including switchable aux 1/HT (home theatre), aux 2, CD, and tuner. There is also
a line-out and pre-out (volume controlled) and two sets of speaker terminals in case you bi-wire. In HT mode the volume control is unaffected so that the volume control on the home theatre processor can be deployed. All sockets were of excellent quality (especially the MF speaker sockets) and well laid out. There is no master on/off control at the rear and the unit enters standby when plugged in. Turning on is when the fun starts.
THE LIGHT SHOW As soon as you press the standby button on the left of the unit the unit will light up red around the four valves and under the front of the unit. The LEDs under the front are a lovely feature, a bit like the light show you might see on the skirt of a 17-year-old boy racer’s first Vauxhall Corsa! After a few seconds, the valves turn orange meaning that they are useable but still warming up. After around 20 minutes the valves have reached full thermal equilibrium and turn blue, as does the underside of the unit. Now you can start to seriously listen. The light show doesn’t end there. The two buttons at the far right select “lighting mode” and “display”. The former gives you seven permutations as to the lighting and the large central visual display; whether you want valve or base illumination or the central display to be visible or not. The “display” button gives you choices of brightness and theme of the central screen. You can have a black background and white/blue meters (which I liked), reverse with a white background, or just showing the source and volume control level. I loved the meters, though their reaction time to the music was a tad slow. On the left is a very large source selector knob and on the right is the volume control. You need big hands! Turning up or down the volume control is not a simple 360 degree motion, rather it takes lots of turns to get up to around -16dB, my preferred listening level. The unit comes with lots of accessories, including the lovely matching aluminium remote control, a choice of feet for placing the unit on (pads or spikes), and a pair of white gloves if you need to change the valves or simply don’t want to get your grubby paws on the unit. The remote allows you to
power up the unit, mute the sound, change the display, and change the source and volume up/down.
TECHNICAL INFO Inspired by the Titan amp with a locally decoupled output stage, each output device is coupled to its own capacitor resulting in lower impedance and better performance. The high-current bulk supply capacitors sit next to the output transistors. This means that the latter get immediate access to stored energy with lower impedance and gives better transient response. The 800.2 has an uprated power supply circuitry and premium transformers, having lower standing flux and improved noise characteristics. The main supply capacitors are placed close to the rectifiers which reduces power impedance and therefore keeps hum down and away from the power amp circuitry. The amp has Faraday cage shielding to keep EMIs out of the way, and of course, the sheer weight means there is less vibration affecting the performance. The 800.2 delivers 330W into 8 ohm, 500W into 4Ω and a blistering 1000W into 2Ω. This dual mono amp will power any speaker you want to use.
SOUND OF THE MUSICAL FIDELITY 800.2 AMPLIFIER I must say I had great fun listening to this amplifier, choosing digital, vinyl, and reel-to-reel as my choice of sources. Firstly, I played ‘A Swinging Safari’ (Billy Vaughn and his orchestra playing Bert Kaempfert songs). This reel-to-reel has an amazingly powerful bass end and top detail to match, and this amplifier performed it with plenty of grunt. “That Happy Feeling” certainly gave me plenty to smile about with this integrated. Everything was brilliantly controlled and detailed. This is a punchy but gentle-minded amplifier that really understands the music it plays.
The cymbals in ‘Blue Rondo’ from Dave Brubeck were precise and beautifully engineered, and similarly, the kick drum was excellently controlled from initial transient to final decay. I just wish the LED VU meters registered at the same time as the music. The saxophone just played in the room – not from the speakers. Indeed, in all the music I played the instrumentalists and vocalists were in the room positioned around the speakers, not emanating from them. Just as the Brubeck quartet gelled as a team, so the amplifier mixed the ingredients together to make for a meal of musical magnificence. This amp just got better the longer I played. As well as being a powerful performer this amp could be equally sympathetic to the quietest passages; for example, listening to the slow movement of Vaughan William’s 5th symphony was beautifully controlled and highly musical. Classically Minded’ is a jazz album from the David Rees Williams Trio, playing some of my classical favourites of the past. The musicians played in my living room with great detail and intimacy. Bass was very extended from my LS5/9s and piano and drums were clearly positioned in the soundstage. Duke Ellington’s ‘Three Suites’ is also based on classical favourites and here with 18 movements, each one played with great detail and soundstage, including details behind and in front of the speakers. Turning up the wick a bit I played “Repentance” from progressive metal band Dream Theatre. This starts with strong kick drum beats and a repeating guitar riff until the vocal melody finally begins. Top-frequency percussion was the clearest I have ever heard from this track and the kick drum was, like before, in the living room rather than emanating from the speakers. Only when the music got really excited did this amp not quite hit the “best amp of all time” award, though it was very close. It was brilliantly clear and detailed but just not quite coping with some of the vocals, but this is a track that is hard to get sounding just right. Turning to something easier to enjoy – ‘Long Road out of Eden’ from the Eagles. This is a brilliant vinyl album released in 2007. The Eastern theme of the title track was precise and detailed. Even the electric guitars sounded polite. Turning to reel-to-reel again and Madeline Bell’s
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‘Blessed with Your Love’, the amount of detail and reserves of power in the amplifier really came to fruit. Playing this from my Nagra IV SJ reel-to-reel was the best I have ever heard. “The Look of Love” had an amazing soundstage and details at the tops (such as the bell) and the extended bass were brilliantly captured. Madeline’s voice was clear and mellow and instruments were positioned precisely in the soundstage that I could almost touch them. If this were a sweet it would be a mixture of chocolate and hundreds and thousands sprinkled over the tops. Detail in the decays were also precise and extended, such as with kick drum and snare. Powerful drums in “Good Morning Freedom” showed off the power reserves in the 800.2. Electronic keyboard solos were precise and perfectly focussed. This was no ordinary amp; just as the Titan wowed the audio press back in 2009 this new Nu-Vista should do so now. Its price tag of £10,999 was no obstacle for the amount of joy I was getting out of it. “Dreams” is a beautiful track by Frits Landesbergen and contains a beautiful piano melody with very little vocals in it. The clarity, detail, and timing were excellent, with a richness to the tone that almost matched Madeline’s vocals. It could be silky smooth yet with enormous transients when the time called for it. Nothing flummoxed it. Indeed, in Beethoven’s 9th symphony (Dresden Philharmonic Orchestra, Herbert Kegel, SACD) that power reserve was needed in droves. This performance was extremely pow-
erful and tight. Instruments were placed perfectly in the soundstage, fast bowed strings played with verve and brass blew as powerfully as they could. The second movement has great depth of volume from the tight pp’s from the strings to the loudest ff’s from timpani. I have an LP of Karajan rehearsing this work (celebrating 70 years of DG records) which enabled me to understand - though not easily as it was in German - the constituent parts of the last movement. With the 800.2 I was there in the midst of the instrumentalists picking out all the individual melodies and textures. It’s not often that I am so excited about a product, but I could have listened to this amplifier for weeks.
CONCLUSION I spent many hours listening to the Nu-Vista 800.2 amp trying to find faults, but I just couldn’t. This was not only a mighty amplifier in terms of size and weight but it was also mighty in terms of performance. The soundstage was epic, and the amount of reserve in those capacitors meant that no music was too much. It performed well at all frequencies and with all types of music.
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Apart from price, your only consideration should be whether you can lift it up and place it on a suitable stand. I am awarding the Musical Fidelity Nu-Vista 800.2 integrated amplifier the highest award I can and recommending it for Editor’s Choice consideration!
We Loved: Excellent soundstage Transparency Engaging sound We Didn’t Love So Much:
AT A GLANCE
Some might find it just a little too big
Build Quality:
Elevator Pitch Review
Incredibly well put together and excellent choice of components, with a good central display screen
Exceptional musical performer with excellent detail and transparency
When I was told the 800.2 weighed in at two-thirds my own weight I could only hope its performance was worth its weight in gold, and was mightily impressed by not only its build quality but also the electronics. With the Nu-Vista label back in force this is an exceptionally impressive machine coming with the cute little metal-encased nuvistor valves. Would this 41kg amp be as good as its weight? I wasn’t to be disappointed.
Value For Money:
Price: £10,999
A good aluminium remote Sound Quality:
£10,999 might seem a lot of money, but it is only a quarter of the cost of the combined PRE (preamp) and PAS (power amp) from Musical Fidelity
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VON GAYLORD AUDIO HARMONY TUBE PREAMPLIFIER
Janine Elliot takes a listen to the Von Gaylord Audio Harmony Pre-amThe Harmony, on review here, is a tube preamplifier using a pair of 6SN7 tubes and coming in at £5000 all the way from sunny West Sacraplifier costing £5000. mento, California, USA. Von Gaylord Audio might not be a name that you know, but this company have certainly been creating an excellent name for themselves particularly with innovative tube-based products over the past few years, a company I have been keen to see at shows around the world.
VON GAYLORD AUDIO COMPANY HISTORY The company’s history goes like this; Von Gaylord had been interested in audio for many years but was never happy with what he could buy off the shelf, so he took it upon himself to start building his own products. But only when he met Ray Leung did he consider setting up a company. The San Francisco tube electronics company called ‘Legend Audio Designs’ was formed in 1994 by Von Gaylord and Ray Leung. Starting in a small way it soon morphed into something a lot bigger producing complete system components. Due to a legal dispute with a speaker manufacturer also with the name “Legend Audio” and also based in San Francisco, it was changed in 2002 to Von Gaylord Audio in respect to its original designer Von Gaylord. Around 8 years ago Von Gaylord retired officially from the company moving back to Germany, leaving Ray Leung as the sole designer and residing president. Like many audio CEOs, Leung is also a musician; a trained classical guitarist who still plays today. His motto is not to settle or try to compromise. “We strive to have all of the musical elements of a great system: dynamics, warmth, transparency, liquidity, lifelike-imaging, sound staging, and most importantly, that audiophile intangible called ‘musicality’. Von Gaylord Audio has now been designing products for over 20 years.
THE VON GAYLORD HARMONY PRE
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REVIEW The company is renowned for tube products, for example their $200,000 Uni Sea Liquid Cooled power amp, and the Harmony doesn’t change this formula and is a valve pre using the 6SN7 tubes and represents their first ‘one-box’ preamplifier. The single box is due to distributors from Europe and Asia requesting a single-box preamplifier for their market. It also needed to be straightforward in design and take up less rack space. This was quite a challenge for Ray to design a preamplifier incorporating a high-voltage power supply and signal path in one box, and this design process took about a year to come to fruition. Ray believes that a valve preamp and valve power is the best combination to create the best integration of sound. The unit is a pure Class-A affair, and in common with their other preamplifiers only has three inputs (CD, Tuner, Aux); there are no digital or phono-stages in sight here. The rear has RCA connectors for inputs and two RCA line-outs to your power amp. Internal cabling uses their Premium Legend Silver Wire and silver solder, and the entire signal path is point-to-point hand-wired and then enclosed in a steel chassis. As Ray told me, there are two reasons for the inner frame: “First, the components are potted with fiberglass filler to ensure a stable temperature, the potting material working as a cooling system to help stabilize the temperature. In an audio system, heat variation can result in sound inconsistencies, so this design minimizes temperature variations and changes in component values that may affect the sound”. Secondly, this system also reduces vibration. “With respect to vibration elimination, the isolated inner chassis provides an extra barrier to ensure that when distortion goes through the outer enclosure, it will not affect the audio path inside the cabinet”. There are around 10 different manufacturers of components used in the product; Ray’s philosophy is to use the best components (Capacitors, Resistors, Wire, and Soldering) in order to achieve the best sound. Whilst the components are some of the best (capacitors from Solen, Supersound, Wimmer, and others), this can lead to them introducing their own sound signature due to their typically strong individual character. Ray told me he has found it necessary to take great care in selecting and combining these various components in order to assure an optimal final sound.
The front panel is minimalist; a rotary knob on the left to select the three sources, a central off/ on switch which lights up blue when ‘on’, a volume control on the right, and a tiny central hole for the remote-control sensor. Similarly, the cute little aluminium remote is sparse, to the extent of just saying “Von Gaylord” and nothing else on it to explain the left/right, up/down, and centre buttons. At the rear (as mentioned) there are RCA input and output sockets, but alas for a £5000 preamp, there are no XLRs. Luckily for me, the Harmony – and all VGA products – are run in 100 hours before heading off to the customer. This is an excellent-looking product with great looks and excellent construction, available in silver. Customers can try the product for two weeks, and if not satisfied they are welcome to send it back, just paying the postage.
THE SOUND OF THE VON GAYLORD HARMONY PRE Von Gaylord (VG) wanted me to review a complete system. I can see why, though the lack of space for the boxes at Chez Janine, let alone the HiFi, made it impractical. The Harmony arrived with Return of the Legend 7000s interconnects, which I used between the Harmony and my valve-based Synthesis Roma 98DC power-amp, and a Chinchilla Mk ii powercord. Interconnects and cables are designed and manufactured in-house. Reviewing was from vinyl, FLAC, and DHD digital sources, and from my Ferrograph and Teac reelto-reel recorders. VG suggests a 20-minute run-in each time you listen, which was certainly very true here and I guess this gives the couple of tubes time to warm up. Straight from power up the pre didn’t sound at its best, but waiting twenty minutes or more before reviewing the sound opened up with better bass-end and overall detail. I was also aware of the way the combination worked so well together, with a great spatial soundstage and including 3D space between the musicians. My Synthesis KT88 tube power amp does this so well, but in combination with the preamp just improved things further. Though I am personally happy with my passive TVC preamp, the Harmony was certainly very much in harmony with me throughout the review; excellent
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musical mid-range from violins and voices and a punchy bass end. Just at times did I wish for a greater extension at the very bottom. There was excellent detail to the music as well as an honest tonality that made the music so believable. Playing Spark’s “Something For The Girl With Everything” from their ‘Plagiarism’ album was not quite like their original single; the slushy strings in this newer version of the famous song were just so mellow and musical I was persuaded to play even more from the album. There was a beautiful 3D soundstage and excellent midrange. The latter continued with Pavlo Beznosiuk’s take on the Bach Toccata and Fugue (24/192). This performance was very open and detailed, but still highly musical with lush tones from the excellent performer. This preamp has lots of reserve so it never ever felt overdriven or underpowered. The violin concerto No 4 in D from Mozart (Mariame Thorsen) was again a great sounding performance, though not quite as musical as I have heard from a few other more expensive combinations. Turning away from solo violin to Bozza’s ‘Children’s Overture’ (Band of the Norwegian Armed Forces) the bass and tops were crisp and uncoloured, but the
extreme bass was a little lacking again, and it all sounded a little too controlled in this highly amusing piece. Britten’s ‘Simple Symphony’ is a lovely tonal work written in Lowestoft when he was only 20 and using material he had originally composed as a child, and this performance (Trondheim Solistene) was bold when it needed to be and equally relaxed at other moments, such as the “Sentimental Sarabande” third movement. Whether thin or thick textures, the Harmony was a great performer. Clare Teal’s ‘Don’t Talk’ got the music swinging with lots of tight percussion, vocals, and brass band in “Messin’ With Fire”. “When in Rome” was a little bit more laid back, but equally enjoyable. Clare’s voice sang beautifully through the Harmony. In all the music I played there was an excellent musicality, especially midrange vocals and violins, and whether pop, rock, jazz, classical, or ethnic, I was met with an engaging and believable performance. On vinyl, Dave Brubeck’s ‘A Cut Above’ is an iconic direct-cutdisc album made in limited quantity and in a unique way with an inverted disc cutter, and the performance from the VG was on par with the best at this price point in terms of musicality and openness. Finally, I was lucky to play the very new Rimsky Kor-
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sakov’s ‘Scheherazade’ on reel-to-reel from Chasing the Dragon. Look out for the review on this great album, soon. I used my Ferrograph Logic 7 and also my 4-channel A3440 from Teac, a machine I have just brought back to life after 20 years of storage by its original owner. Using tracks 1 and 4 on the Teac or the excellent two-track Ferrograph, both machines gave a very weighty performance in the bass when needed, and when the fairytale Scheherazade theme was being played by the violins or flute I was wafted away into pure fantasy. This work is all about a sultan called Shahryar who was betrayed by his first wife and so decided to marry a new virgin every day and have them beheaded the next. When it came to Scheherazade, she kept reading him a new story at night and didn’t conclude it before dawn broke, so she escaped death for 1001 nights. By that time he had renewed his trust in women, so spared her life. I had equal trust in this performance, though it didn’t take me 1001 nights. However, only the deepest bass wasn’t quite as I wanted, even on my Ferrograph which has excellent bass performance. Mids were superb as were the tops – for
example, the triangle or brass outbursts. These were pin sharp. The beautiful third movement has a very clear triangle, tambourine, and snare drum, giving an almost 3D performance, being placed toward the back of the orchestra space. This movement was highly engaging through the VGA.
CONCLUSION This was a highly engrossing product, working so well with my KT88s. Everything was so well controlled and nothing sounded out of place. Mids were sublime and the top end was pin sharp and fast. If you listen to the Harmony, be sure to let it run in 20 minutes before being serious about its performance; that 20 minutes will persuade you to listen for hours!
AT A GLANCE Build Quality:
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Very well put together, only that the stick-on rubber of the feet can come off when sliding the product into place on your HiFi stand
Expressive melody
Sound Quality:
We Didn’t Love So Much:
Exceptionally musical performance and working with all types of music
Some might not like there being no XLR balanced inputs and output
Value For Money:
We Loved:
Elevator Pitch Review: I had seen Von Gaylord products before, but had never heard them. This was a good chance to see why they are rated so well. Combined with my own valve power this was an excellent marriage giving a warm but detailed sound and a soundstage that just made me want to keep on listening.
Excellent soundstage
Price: £5000
£5000 gets you a lot of music per pound, so it is highly recommended, especially if your power amp is also valve-based
Mid-frequency detail Transparency
Engaging sound
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TECHNICS SU-GX70 NETWORK AMPLIFIER Regular readers will know I have a bit of a thing for this Japanese brand that goes way back in the annals of time to a dim and distant time when I was a teenager beginning to explore all things HiFi. I’m repeating myself, but for the uninitiated, I had a HiFi system bought for a birthday and/or Christmas that consisted of a Technics SLDL1 turntable and some Hitachi separates and speakers. I loved it! However, with the turntable came a catalogue of Technics kit of the day and I spent many an hour listening to my very limited record collection and poring over said catalogue and associated basalt plinths and amps with huge UV meters. Around the same time, I began to read the HiFi press of the day, and friends who had Dual, NAD, and KEF/Wharfedale systems would take the piss out of my system with cries of “Jap crap”. I was an impressionable teen and despite my thinking that my system sounded great, I fell into line and duly sold the Hitachi kit and bought a Musical Fidelity The Preamp, a Crimson Electric amplifier, and a pair of Wharfdale Diamonds. The turntable stayed, but I did spend my first term’s student grant on an LP12 (secondhand with no arm and no cartridge) And that’s how it remained (armless) until I swapped it and all my other stuff for a pair of MK2 Technics 1210s. In the mid-eighties, Japanese HiFi took a bit of a beating in the UK, and I suppose it was much like the influx of Japanese cars like Datsun – a good degree of xenophobia mixed up with a sprinkling of protectionism. It seems this has continued to a degree and I was speaking to Bruno at his HiFi shop in Quimper the other day about how one of the brands he sells (Yamaha) is perceived and he kind of echoed the same kind of thing I encountered and mentioned in the eighties. Let’s get one thing straight from the off, there is a lot of excellent Japanese HiFi out there and the first name that springs to mind with me is Technics. Before I continue, I need to clarify a small matter for friends outside the UK. The correct pronunciation of Technics is not Techniques, it is TechniKs, though to be honest, all the Japanese folk I’ve met that work for Technics pronounce it incorrectly too. Perhaps another case of the rest of the world being wrong and English folk being correct? So, now we have got the matter of Japanese audio kit not being inferior and the correct way to say Technics out of the way I suppose we ought to discuss the product that I’ve been charged with having a listen to, the evocatively named Technics SU-GX70 Network Audio Am-
HiFi PiG’s Stuart Smith takes a listen to the Technics SU-GX70 Network Amplifier.
Reviewed by Stuart Smith
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plifier. To me, the name conjures the very essence of Japanese simplicity and simplicity and SU-GX70 is so much easier to recall than, for example, the Technics Cherry Blossom Amplifier. I had an online meeting with a couple of guys from Technics about the amplifier and how it was conceived and born, and the initial thing that I thought was interesting was that the SU-GX70 (I’m just going to call it the amp from now on) was created to cater for shifts in consumer needs and desires, and with the main shift being away from predominantly video content to audio being more important, BUT having high-quality video content with the ability to connect audio bits and bobs to the television. The choices for a new amplifier and its functionality would be heavily influenced by these, presumably well-researched customer needs and wants with the intersection on the Venn diagram being a 2-channel amplifier that is compatible with being connected to the television. Now, I can almost see dyed-in-thewool audiophiles reading that last statement and recoiling in horror, but the truth is that Joe Public wants both great visual content that is accompanied and enhanced by great audio content, and this amp aims to meet those consumer demands. Smart move Technics.
FEATURES OF THE SU-GX70 AMPLIFIER The amp is designed to offer (and I quote) “Next level integration using Technics’ full digital technologies” and “The definitive living room audio centre that enables seamless enjoyment of video audio and music.” And so what Technics have designed is a fully digital amp that will play back digital signals, be they streamed music or video via HDMI, that will be “high-purity” by eliminating jitter and noise. The amp is said to have uncompromised sound whether the end user is using streamed content via the “Grand Class” low-noise power circuit or through the onboard phonostage. I’ll go through some of the onboard tech’ in a moment, but to me, the amp (available in silver or black) looks like proper HiFi, and by that I mean it looks like what anyone in the street would describe when asked to say what HiFi-separates look like. It’s
unfussy and it just looks like what it is…and there’s a matching CD player the equally evocatively monikered SL-G700 to stack below it should you want to play your silver discs. Now, I really love this styling and whilst it’s not exactly ground-breaking, what it is is honest-looking – it’s not going to be confused for anything else other than a HiFi component whilst sat on your sitting-room sideboard, that’s for sure. The front panel is pretty self-explanatory and I don’t think I need to go into detail about there being a volume knob, headphone socket, and all the rest – there are photos to look at for that! The volume knob feels very well made and turns nicely and the input selector far right has a satisfying click to it.
Inputs-wise the amp is suitably well-specified and will connect to WiFi, Bluetooth, and Airplay for wireless fans. In addition to the wireless connectivity, there’s a phonostage input for moving magnet cartridges which I think is a sensible move, plus a couple of other RCA analogue inputs, which I also think are sensible additions. There’s an input for the included wire DAB/FM radio antenna which I also think is a useful thing to have – I still totally believe that radio is a very important part of our music mix. Speaker posts and a set of RCA pre-outs complete the back panel other than the all-important digital inputs which include USB-B, a couple of opticals, a coaxial input, and the HDMI ARC input. Apart from the wired LAN connection and the power inlet, that’s your lot. Everything is well laid out in sensible groupings and everything is of reasonable if workaday quality. There’s certainly nothing to complain about and overall, everything on this amplifier seems to offer good quality. The remote is a pretty standard affair but matches the amp, covers all the necessary functions, and is quite large so that it’s easily operated and less likely to get lost. This on a standard bit of furniture (or HiFi rack if you must) will look smart and purposeful and is perfectly proportioned to look like what it is and with enough functionality to act as the hub for your home entertainment system.
THE TECHNOLOGY I’m not going to pretend to understand the tech’ inside this amplifier (or many others) and will go through the information I was given in our virtual
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meeting. There’s some clever stuff in here that does make sense, but from a science perspective, most of it is beyond my understanding. However, I do know that some readers enjoy this kind of thing and so here you are. FULL DIGITAL AMP AND JENO (Jitter Elimination and Noise-shaping Optimisation) ENGINE
The guys I had the meeting with were keen to explain that the SU-GX70 is a fully digital amplifier and that means that its “digital transmission system processes signals fully digitally in all stages from input to output.” Technics say that this wholly digital approach offers more precise signal transmission and with less signal degradation caused by external noise when compared to analogue transmission. The JENO engine has also been used in the HDMI ARC channel and this is the first time Technics have used this. This process is said to reduce jitter during the transmission of digital signals (S/PDIF) and lead to better sound from TV Audio.
LAPC CIRCUIT My ears pricked up when this part of the amplifier was being talked about in our meeting and I genuinely found this quite interesting. Basically, this system and the algorithm measure frequency amplitude-phase characteristics of the amplifier with the speakers connected so that the frequency curve is flattened…. which must be a good thing! As a rule, the impedance of a speaker changes at different frequencies, but an amplifier is supposed to react consistently at all frequencies but that’s usually not the case in conventional amps.
SPACE TUNE This was another case of my ears becoming pricked (and not because I thought we were about to discuss some songs by Hawkwind) and I think we will see this type of system on more and more products in the coming years as more and more people realise that the room a system is placed in has a huge effect on the sound. There are essentially two ways to deal with room problems and they are either using physical products such as bass traps, diffusers, and absorbers (what we use at home) or through clever digital jiggery-pokery. There is an app (iOS only, sadly) called the Technics Audio Centre that
allows users to select Free, Wall, Corner, or Shelf depending on where you can site your speakers in the room. This a limited to just four placements but does cover most bases. I actually think limiting the selection is fairly sensible given that infinite tweaking allows for infinite messing up! In addition to the SPACE TUNE feature, the app also allows for changing the L and R balance of the speakers. Essentially, what we have here is a set of in-app tone controls and balance controls. Twin Power Supply Circuit System
Anyone who has even a passing interest in power amplifier design will be well aware of the importance that designers place on the power supplies within an amp. Technics have used a separate power supply for the power amplifier in the SU-GX70 that is wholly independent from other circuits in the amp. This is nothing new and many amplifier designs bast separate power supplies for individual parts of their amps. High-Speed Power Supply Again, I don’t think this is anything particularly different to what others are using but the SU-GX70 does use a high-speed (130kHz) switching power supply. Whether this speed of switch is higher than others I don’t know. High-Quality Audio through Low-impact HDMI Video Output The following is unique to Panasonic/Technics and once again I’m not going to pretend to understand what is going on and so will quote Technics. “For the SU-GX70 to receive audio signals through the HDMI ARC (Audio Return Channel), due to the specifications, video signals must first be output from the SU-GX70. However, the output of these signals can cause unwanted noise. As such, the video signals are output from theSU-GX70 at a lower rate, and the digital value of the colour of each pixel is set to zero. This ensures low-load operation between the HDMI transmitting/receiving devices, preventing any unwanted noise generation from the video signals. This also reduces any impact on sound quality. Further, transmitting the signals from the TV to the JENO Engine via the shortest possible route minimises any further impact from jitter.”
PURE AMPLIFICATION MODE
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This I do understand, and it makes good sense. When this mode is employed, all power supply to the network and HDMI circuits are shut off completely. The idea here is again to remove noise from the system that could potentially and detrimentally affect the sound. So that’s the techy stuff out the window and whilst there seems to be some pretty clever stuff going on in the amplifier, all that is pretty pointless if the unit doesn’t perform in the real world…so let’s have a play with it and whack some tunes and telly through it.
APP SETTINGS AND SOUND QUALITY Just to clarify, I don’t give a monkey’s toss what technological wizardry is at play inside pretty much any product I have; be that a piece of audio equipment, mode of transport, computer, or kitchen appliance. What I do want from a product is for it to be fuss-free, reliable, and to perform its given duty to a high standard. If I buy a microwave, I want it to heat my dinner up quickly and ping me when it’s done. For the record, we don’t own a microwave, but you get my drift. If I buy an amplifier, I want it to be easy to fathom the functions on and to play music in an enjoyable fashion. So, all the above chatter about the tech’ may well be of interest to some of you, but for me, it’s a bit of an aside. Anyway, let’s play some tunes. For the duration of this review, I had the amp hooked up to a pair of Xavian Perla standmount speakers as they are about the kind of price I would expect this amp to be used with. Speaker cables were from Chord. I also tried the phonostage out using a Technics 1200MK2 and an Ortofon Concorde cartridge, again, because it’s the kind of thing I expect people that buy this to use. The set up is simple and intuitive, though my manual didn’t have an English section…I’m certain those units intended for the UK and other English-speaking countries will have an English section – I used
the French section, and it was simple to follow and sufficiently informative. First up I tried the radio and attached the included wire arial that doubles for both FM and DAB radio. I knew DAB would be a pointless exercise as we just don’t get DAB stations here, but an auto-scan of the FM frequencies had me “enjoying” the 80’s delights that our local radio station insists on playing on heavy rotation. This was the only station I was able to get but this did not surprise me at all as we just don’t get very good reception in the valley in which we live. Mick Hucknall sounded just as I remember him sounding and reminded me why I don’t follow this particular artist. Now, many may scoff at the idea of including a radio receiver on an amplifier in the 21st century, but I think this is a very good idea, and for background listening it was excellent, despite the musical choices of RMN FM. The sound is very good for radio and the first thing that struck me was the excellent imaging. At this time, I hadn’t bothered to set up the network or set up the speakers with the Technics Audio Center App to optimize them... To set up the speakers (and amp) you need to install both the Technics app and Google Home app, with both being completely new to me. However, the apps talk you through what to do with on-screen prompts and it’s all fairly intuitive. And once set up on the Google Home App the amplifier is seen by your phone/tablet and the Technics app. There was no shouting until the app refused to accept my Qobuz account details. I tried dozens of times but without success and I know I was adding the right info as I connected fine on my desktop. However, what immediately connected was all my home audio files housed on the NAS and I had all my music available through the app and with it all being dead simple to control. I’d have loved to have seen ROON compliance here, but I’m not so sure that the market for this is going to be Roon Ready themselves! Once you are set up you can click on the tool icon on the Technics Audio Center and you can faff about with the balance with a slider control - the amp responds pretty much immediately and without much lag at all. Very cool. You can do likewise with the Tone controls (Bass and Treble). Space Tune is pretty cool, and it does change the response of the speakers. What I did think useful was the inclusion of an L/R Custom setting that allowed
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you to change the setting for the left and right speaker so that if you have a speaker on a shelf and one stood in free space you can allow for this. This is a really useful feature and will allow your speakers to work as best they can in the room positions they find themselves in. LAPC is pretty cool as well. Press set up and it goes through a little routine of playing test tones to measure whatever it is it is measuring. The process takes about four minutes, after which you shouldn’t have to fanny about with it. The cats didn’t like the test bursts. This is all very clever stuff - it allows you to get the best out of a pair of speakers and gets the amp working correctly with the speakers. Once it finishes the routine the music you were playing. You can turn it on and off so you can compare the sound with it on and off and it definitely sounded better with LAPC switched on with a more dynamic sound overall and a little more detailed. There’s loads more you can do on the app that is interesting should you need (or want) to use it. These features include Pure Amplification (more on that in a bit), MQA Decoding (mmmm...), you can change the phase of all the analogue inputs including the phono input, and you can turn a subsonic filter on or off on these channels too. In addition to playing with the sound settings, you can also change what source you are using on the amp; for example, you can switch from streaming to radio or any other input you fancy. The app did stall a few times with me needing to close it and open it up again between switching sources, but otherwise, it performed very well, and I liked the unfussy and intuitive interface.
Overall, I enjoyed the app a great deal with a couple of niggles. Long story short was that I barely bothered to pick up the remote other than for volume which (unless I completely missed it) the app doesn’t seem to include. The display on the amp is about as much use as a chocolate fireguard for me and my old eyes when sat in the listening position and you do have to be pretty close to it to make out what it says – never mind, all that’s on the app anyway and I do think screens on amps are pretty much redundant most of the time. Playing tunes off the NAS I have absolutely no questions that this is a very good sounding amplifier. How much of this has to do with the tech-
nical doodaddery I spoke about above I don’t know (nor care), but once set up I found this little system to be brilliantly punchy and enjoyable. What I particularly enjoyed was the way the amp got the speakers to play bass. This aspect of the sound was excellent listening to Jay Z’s first album and was a very enjoyable experience with that bass being as tight as you like. I also enjoyed the soundstaging of this amplifier with these speakers with this record, and even sat off-axis (with the balance set accordingly) I was able to enjoy the stereo effect. Even with the balance set centrally the sweet spot appeared to be quite wide. I loved being able to play with the balance and I wish it were available on more amps. Crank the volume up to loud levels and you are left with a very balanced sound with just the volume getting louder, if that makes sense. This last point sounds a bit obvious but quite often the character of an amp/speaker combo can change as the volume gets higher – this doesn’t happen with the Technics amp and it remains even up to the point of pushing the amp beyond its limits (way too loud). Bluetooth just works; switch to Bluetooth in the app, find the speaker on your tablet, and play YouTube or whatever. Music! Actually, I was quite surprised by the sound I got from the less-than-sonically-spectacular YouTube and I found the same punchy and enjoyable character of the amp I’d experienced before to come through. This is a good thing and I can see a good few folk that buy this using Bluetooth quite a bit. I have absolutely no niggles at all with regard to Bluetooth playback, setup, or sound. Actually, I’d go as far as to say that this is as good as I’ve heard YouTube sound when streamed via Bluetooth. Listening to The Grateful Dead’s Touch of Grey I was still able to hear the spatiality of the mix and the sounds of the crowd that are plumbed into the official video. This being able to identify sounds in a mix (even with Bluetooth) is impressive and has to be something to do with the whole LAPC and Space Tune thing. Purists will scoff, I’m sure, but the truth is that the people that are in the market for this kind of amplifier really don’t give a flying-fist-of-funicular-fun™ whether the amp is behaving as a true straight wire with gain or not! What they do care about is that the sound coming out of the speakers is good and that it is FUN! And the sound I got with this amp and the Xavian speakers was cer-
tainly great fun!
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The phonostage on this amp is excellent in my opinion. I played a good few records through the amp using the Ortofon Concorde and Technics 1210MK2 combo and that spatial element of the amplifier’s character was maintained on everything I played. The phonostage also allowed the same natural separation of instruments in the mix – bass was easy to pick out from the mix as were the vocals and other instruments and where they sit in the mix. For the level of record player and cartridge most will use with this amplifier, I don’t see anyone having any cause for complaint! There’s plenty of detail and punch as there was with the amp streaming content. The headphone amp worked fine for the short test I gave it.
NIGGLES I couldn’t get the app to connect to my Qobuz account. The app hung a few times between changing inputs and needed to be restarted – not a major hassle if truth be known. Couldn’t find volume on the app.
CONCLUSION This is a very fine-sounding amplifier that will appeal to those that want an amplifier that looks like a traditional bit of HiFi but one that has also been brought into the twenty-first century. It has excellent connectivity and the onboard bits and pieces by way of clever tech and algorithms work well and are not just there to give the sales bod something to yadder on about when selling this amp to punters. This amplifier is not aimed at purists, and it is not aimed at the hair-shirt audiophile brigade! Those two groups may well rail against the LAPC and Space Tune features, BUT the truth is that the people that this amplifier is aimed at will “get” it and will not care about what makes it sound good, so long as it does.
And this amplifier does sound good! In fact, I’d say it sounds very good using the speakers I paired it with. The characteristics are a wonderfully spatial sound with clear lineation of instruments within the mix being evident. There is punch, detail, and an overall feeling of rightness. I don’t think it sounds at all digital or harsh in any way, and I’d actually say it sounds natural and clean. The Technics SU-GX70 will be bought in numbers by those people who are looking for a fuss-free way to enjoy music in their living rooms and I think they will be very (VERY) happy with their purchase. Not only does the amplifier allow for the connection of a massive array of sources including a turntable, but it also has onboard radio, a DAC , DAB radio, and a headphone amp. This is a traditional integrated amplifier brought up to date and I loved my time with it! Had the app worked flawlessly this amp would have got our top award, but it didn’t and the amp loses points on that basis.
AT A GLANCE Features and Build Quality: The amp is well finished if nothing outrageously extravagant It’s hard to knock the amp with regard to connectivity The app is good and easy to set up but it didn’t allow me to connect to my Qobuz account and it did hang a couple of times The app allows for a great deal of set up by the user to allow for their room and their preferred sound Sound Quality: Punchy and fun Great soundstaging and separation of instruments in the mix Value For Money:
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This is likely at the upper end of what a causal user would want to spend but if they do they will be richly rewarded. I’d envisage folk looking at his being those that think they have outgrown their soundbar but don’t want to commit to a full-on surround system. We Loved: Great looks, great features and a surprisingly excellent sound We Didn’t Love So Much:
Not being able to connect to my Qobuz account was frustrating Elevator Pitch Review: The Technics SU-GX70 network amplifier is designed to be the digital hub for your home and connect the dots between audio and video sound playback. It performs almost faultlessly and sounds punchy and refined, whilst remaining great fun to listen to. The big selling point of this amplifier is the ability of the onboard wizardry to get the best out of the speakers you choose to partner it with and these features work excellently. Price: £ 1699 $1995
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NAD C 3050 AMPLIFIER NAD Amplifiers have been well-known and well-loved for many years by audiophiles at Taking design inspiration from the classic 3030, NAD is at great pains to point out and I think justifiably so, that this is not the old NAD! This every stage of their is a VERY new NAD - with a heritage echo. involvement in their HiFi Formed by a bunch of distributors disgruntled at changes in their key vendors’ approach and led in the design by then Managing director journey. In this review. and founder Martyn Borish and the engineering skill of Bjorn Erik Edvardsen, NAD set out to deliver to the market not only a better-soundAlan McIntosh takes a ing product but one at a low price point. They went on to produce the NAD 3020 which is still recognised as the world’s best-selling amplifilisten to the wonderfuler, as well as introducing a few further innovative and well-received products and marketing approaches, including being among the first to ly retro-looking NAD C publish “real” power ratings rather than just test bench ones. 3050 amp. BUILD AND DESIGN OF THE NAD C 3050 AMP NAD, or to give them their full (original) name New Acoustic Dimension, like many brands (and great albums) celebrated their 50th year anniversary over the last year or so (… some of us do similar next year). To celebrate and I’d suggest quite astutely taking advantage of the nostalgia trip hitting the HiFi Industry now, NAD has released their anniversary C 3050 Integrated Stereophonic amplifier.
The C 3050 is an ever so slightly less fancy version of the limited run 3050 LE (Limited Edition) which each had a numbered back panel and certificate, real walnut casing, and NAD’s modular design circuitry – called MDC2 - with BlueOS module installed as standard. This MDC2 module brings the much-lauded Blue OS, the increasingly demanded Roon Ready, Airplay, HDMI, Wi-Fi, and ethernet connectivity, plus Bluetooth to the 3050’s standard analogue inputs. This allows for a breadth of streaming and TV hookup options, as well as opening up the ability to run DIRAC room correction. While the 3050 LE is now “unobtanium” the standard C 3050 is readily available from your local dealer and NAD offers the MDC2 module as a paid-for add-on, and that’s the unit I have in for review.
Reviewed by Alan McIntosh
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REVIEW Aesthetics wise the 3050 does look, well... vintage. Unpacking it and removing the soft cloth fascia cover you are looking at what looks like a 1970s amp. A black fascia is resplendent with two VU meters (adjustable for input power or output power) under which sit the power-on push button and a headphone socket. Heading right we first come to rotary tone controls. I pause here as I’m sure already readers are hissing with a sharp intake of breath believing tone controls have no place in modern audiophile equipment, but they are here nonetheless, and some people do put them to use. Personally, I don’t, and they remain in their neutral positions. Continuing along the face we have a row of quite basic soft push input source buttons for Phono, Line, Optical, Digital Coax, and HDMI. A small green LED indicates which of these is selected. Next, we have a selector for output speakers (A, B, both, or none) and (is that another sharp intake I hear at the back?) a balance control. Again, I left this neutral. Far right we have a large “infinite” rotary volume control with LED indicator and below is an indicator for BlueOS and Bluetooth connections. These LEDs can be dimmed or defeated fully via the BlueOS app. NAD’s logo and 1970s-style cursive name and model number complete the vintage look. Around the back, we have the digital connections via MDC2 module as well as a USB-A for playing files from an external disc (but no USB B input should you want to use a standalone streamer requiring it) alongside more traditional RCA Phono stage for an MM cartridge and just one other single-ended RCA input. The two sets of speaker binding posts are in blue and red plastic and will take banana plugs or standard bare wire as required. A subwoofer output is also provided, as well as a bridged Pre/Power input/output meaning you can if desired pair with a power amp. For a vintage-styled amp, NAD is clearly expecting most of its users to be digital-minded more than analogue. But then for me, that is exactly what they ARE saying with this amp. A standard IEC power cable socket is on the far right. A very comprehensive plastic remote is also supplied. The casework’s most obvious feature is the walnut vinyl wrap, sadly not the real walnut of the LE version but hardly a deal breaker at this price point. A black perforated grille sits in the middle of this giving us a teasing glimpse of what is clearly a modern and digital-heavy interior. NAD are propo-
nents of Hybrid Digital Class D amplification – what they call UcD amplification. Designed, say NAD, to offer vanishingly low distortion, the C3050 employs a custom-made-for-NAD, Hypex-based amplifier module (visible through that grille) that provides a very respectable 100W real-world power into both 4 and 8 ohms. The custom-made amplifier module is complimented further by NAD’s proprietary output filter, which according to NAD controls the amps behaviour as it approaches clipping.
SOUND QUALITY I was genuinely unsure what to expect from the C 3050, having never run NAD in the past; that 70s styling and Class D implementation is a recipe for zero preconceptions - which can be refreshing when reviewing. Unpacked and on the rack, I hooked up a Technics 1210 Mk3D to run, I feel, a realistic pairing of an AT VM540ML cart to the integrated phono stage, set up Blue OS (very easy), added it to my Roon devices and tied in Qobuz, connected it to my Blumenhofer Tempesta’s and set off. Over a few weeks, I was able to give all the various playback options a good run. Given this is a relatively low price point I was immediately pleasantly surprised by the integrated MM phono stage. Running it over a few weeks I found the overall sound to be very good, smooth, not overly present or shouty, and with a very good level of detail and pace. There is plenty of decent bass, not super deep or the last word in textural layering, but very inviting for late nice listening. I was very happy listening to a very broad range of music from jazz, through rock to electronica without the faff of extra phono stages to turn on and extra cable to set up (or pay for!), or additional DAC and streamer boxes to fire up. Turning the volume knob up, with its dimmable LEDs lighting up like a landing strip at night, you get more of the same sonically, with only a slight reluctance above comfortable listening levels. It can feel like the crossover of mid to high sounds a teeny bit set back, almost as if there is a tiny dip in the EQ, but this could be a room-specific issue, so listening in your own setup is recommended. (I had to double check DIRAC was indeed off). On the streaming front, be it BlueOS or Roon, the C3050 really did a great job whether through my reference Blumenhofer Tempesta’s (a £5K floor stand-
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er) or the diminutive “budget” Fyne 300 bookshelf. Never shouty or jarring across all my listening, be it Stevie Ray Vaughn’s “Couldn’t Stand the Weather” or Jean Michel Jarre’s “Arpegiator”, to Prince’s “Sign O’ the Time” and even the Bee Gee’s, I was happily tapping my foot and enjoying myself whether it was simply background or critical listening. While it leans more towards warm than bright, it is resolving, and the imaging and staging dimensionality is not to be sniffed at – often very pleasantly surprising me. Sure, the C3050 isn’t the last word in harmonic details in the lower bass registers and top-end transparency, but is not lacking for enjoyment at all – and for its price point, it’s a seriously competent amplifier. Consistently the Bass response is full and pretty meaty only a smidge overstated when pushed and lacking a little heft when side by side with my reference Hegel 390, but, overall I was very impressed. At heart, I’d say Streaming is the main bag for the 3050. You get the rich choice of the very capable,
simple to use, and increasingly popular BlueOS platform, or set the C3050 as a Roon endpoint. BlueOS is a very open platform allowing for a laundry list of streaming services such as Qobuz, Spotify, Deezer, Tidal, or your local library. In addition, there’s integration with multi-room systems such as Control4 and even Alexa (not tested). I played with both BlueOS and Roon and found very little to separate them sonically. You can also leverage Airplay2 or bi-directional aptX HD Bluetooth allowing even streaming to wireless headphones meaning the 3050 really does appeal to a wide market of users who want quality playback on their service of choice, want to hook up a turntable but maybe aren’t yet investing in standalone streamers, DAC’s or phonostages. The inclusion of HDMI with eArc also allows for use in a home cinema-type scenario. The 3050 makes for a very versatile, easy-to-use streamer and a good-sounding one. Surprisingly so – and I know I said that before, but it bears repeating. The 3050 ships with a basic form of DIRAC room correction and all the necessary, all be it basic, hardware to set it up. It’s limited to 500hz, but the
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full option is available to buy. As room correction for me varies in users’ experiences, I won’t detail my use of it here as part of the review and instead tested the 3050 without it, but it’s there as a tool for those who want to experiment or require it due to known room issues. While I’m sure experienced DIRAC users find it a doddle, I have to say I found it less intuitive and harder to set up (or even get going until a lengthy tour of various websites) than Lyngdorf’s Room Perfect solution, but this isn’t the point of the review.
The DAC in the C3050 is a TI PCM5242, one of Texas Instruments’ latest designs with a focus on low jitter and with the inclusion of DSP handling. That last bit is important to note – when employing the MDC2 module all the analogue inputs on the C3050 are converted to digital before being finally converted back to analogue and passed to the output stage. In the main, this ADC conversion enables the multi-room/BlueOS functions on all sources, and for me, this shouldn’t be of real concern to many at this level especially with the proliferation of DSP and digital amplification these days, but may have some purists raising an eyebrow or two. Given so much music now is all digital anyway and with a large proportion of modern vinyl having digital in its chain, we really do need to stop getting so worked up about such things. The use of DSP in the chain also means the user can adjust the Bass Crossover frequency as desired. I played around with it but settled on the default. Comparing with the far pricier Holo Spring 3 DAC running off an Innuos Pulse, the 3050 comes across a tiny bit fatter and softer, lacking some of the scale and bite, but it does have good detail and dynamics for an integrated DAC in its class, and again it really is very enjoyable to listen to, and shouldn’t have you itching to upgrade too soon. Without the MDC2 module, the analogue path is untouched, but you don’t get all that extra digital/BlueOS capability so choosing your option based on your existing setup would be my advice. For completeness, I tried both wired and wireless connections and both were perfectly stable throughout testing, I also connected my LG OLED via that very handy eArc connector which worked flawlessly, for example when listening to Pink Floyd’s incredible Pulse Live on Sky Arts. The presentation was wide, had great dimension to it, and grabbed me in a way my simple but decent Sony sound bar and
basic subwoofer simply could not, so much that the C 3050 remained in my lounge far longer than my better half would have liked and I’m now thinking about a mini home cinema set up in my new office! The presentation had great realism and the live feel was delivered convincingly with the artists’ stage positioning and dynamics handled very well, with a very slight leaning to smooth and bassy rather than hyper-resolving or bright.
CONCLUSION This is no 70’s HiFi dinosaur- it surprised me in a very positive way. To offer such a breadth of digital capability, an on-board MM phono stage, as well as being able to handle multi-room or home cinema use cases is impressive in any amp. To do it at a whack under 2 grand with a great sonic capability that I would say outpaced expectations and be as easy and enjoyable to engage with as the C3050 is – well it deserves serious attention. For someone getting to grips with proper HiFi, who wants to spin vinyl and stream, or is looking to add a new improved heart to their existing setup and speakers with this type of budget, then the C3050 is well worth a look. Aesthetics could be seen as marmite, but for anyone looking for that vintage cachet, this is a winner. I’d suggest pairing with a neutral or forward speaker to avoid compounding warmth and in fact, could be a great way to tame too much brightness or room issues (via Tone control and DIRAC).
AT A GLANCE Build Quality and Features: Good looking and with a definite retro vibe Onboard features allow for a whole range of inputs and listening scenarios from turntables to multi-room Sound Quality: Excellent sounding Errs on the side of a warmer presentation Value For Money:
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At well under £2000, I think this integrated amplifier represents very good value for money
starting up, the input buttons could be of better quality
We Loved:
DIRAC is tricky to configure well (if desired)
Great overall sonic presentation.
Elevator Pitch Review: The NAD C 3050 with MDC2 module offers the vintage NAD aesthetics with a real modern heart. With extensive digital streaming options via BlueOS, Roon, or Bluetooth and analogue inputs including an integrated MM phono stage. Whether it’s 2-channel listening or integration into a multi-room, or home cinema, solution the NAD C3050 is a great to listen-to, versatile, multifunction, and impressively performing amplifier at an incredibly attractive ticket price. If you haven’t heard NAD, or haven’t heard them in a while, this is a sign to do so now! Price: Around £1500
Ease of use, versatility, and wealth of connectivity options across digital options as well as catering for a turntable will be a massive plus point for many Great smooth and dimensional presentation and full bass VU meters are always fun. Just a very enjoyable, and easy to relax with, amplifier We Didn’t Love So Much: That infinite volume rotary makes me nervous when
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VERA AUDIO POWER AMPLIFIER P400/1000
Vera Audio Power Amplifier P400/1000 is a Vera Audio is (currently) a small Norwegian manufacturer that has just three products (all power amplifiers) in their product range, but their Class D amplifier based website does make a claim (from Nov 2022) that they are working on developing a “world-class” horn loudspeaker, which given the specifications and aspirations outlined, looks to be a very interesting product around the Hypex NCore indeed. modules and coming in The company’s website tells us Vera is from the Latin root meaning a bespoke case with true and they tell us that this is the goal of the brand. They also tell us that they are seeking to put forward an honest approach to the repsome novel features resentation of their products and focus on a “non snake-oil” approach, whatever that is. Actually, I’m being a little facetious here and I do think that this strategy is a sensible one, if only to avoid the constant such as a bespoke buffcries of social media commentators of “snake oil” for anything that er stage and an interdoesn’t fit in with their own views on what audio should be and how it should be conceived. I digress. esting case design. WHO ARE VERA AUDIO
Vera Audio continues to tell us in their spiel that they believe in an “objective approach where measurement and listening go hand in hand” and for me, this is a very sensible way to go as it allows for the discipline of a measured and proven scientific methodology, but still allows for them to bring in the human approach (listening) to the equation when voicing their products. They tell us that “A measurement alone is meaningless unless it is related to what we hear” and for me, this is exactly where many folk that scream measurement figures over listening ad-nauseam stumble. This balance of using the perceived audio (listening) along with measurements is an excellent way to create tools for listening to music in my opinion and serves everyone concerned better than either of the two extremes. Vera Audio also tell us that they want to offer their products at a fair price, will not use hype, over-exaggerated message, or language that may mislead people, and will use honest language about what can be expected from their products. Currently both their products are sold exclusively through a company called Lyd & Akustikk, a Norwegian retailer that sells a range of room
Reviewed by Stuart Smith
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treatment products and the two Vera Audio amplifiers. The amplifier we have here is available in black or silver and costs 28,000 NOK plus VAT and presumably any import duties relevant to your location. The price equates as this article is being written to £2121 or 2437 euros plus VAT.
BUILD AND FEATURES OF THE VERA AUDIO P400/1000 POWER AMPLIFIER Out of the box this unit looks to be exceptionally well crafted and put together. The silver finish is really rather lovely and the amp is pretty compact (29 x 8.2 x 38cm WHD) but also has a good weight to it at 9kg. There is a VA logo cut into the aluminium chassis on top but that’s pretty much all the adornment you get. The name of the amp is pretty sensible once you realise that can be bridged and its quoted power out puts are given as 400W into 8 ohms (max 1% THD+N) or 300W into 8 ohms (max 0.004% THD+N), and 750W into 4 ohms (max 1% THD+N) or 550 into 4 ohms (max 0.004%THD+N). In bridged mode, you get 1500W into 8 ohm (max 1% THD+N) or 800W into 8 ohms (max 0.004% THD+N). These are pretty healthy figures and I can’t envisage many loudspeakers that the Vera Audio amp would struggle to drive. For those interested, Vera Audio provides a downloadable data sheet for their measurements. For those that want to try Bi-Amping the manual gives the following information: “Bridge function can also be useful in a set up where bi-amping is used. While the left XLR input is deactivated, all four speaker terminals are still active running from the right XLR input. This can be used in several configurations. One example would be to connect the woofer system to the left speaker terminals and midrange/tweeter to the right speaker terminals. In this setup, the right and left outputs will have the same output power as in stereo mode”. Around the back of the amplifier, you have a welllaid-out panel with a pair of selectable gain knobs
(one for each channel) and which goes up in 3dB steps from 12db to 30dB (plus mute) in stereo mode. I quite liked this feature! There’s a switch to choose bridged or stereo modes, a 12V trigger (not something I’ve ever used), a pair of XLR inputs (no RCA), and some very nice quality speaker binding posts…oh, and the power inlet and master power switch.
The front of the amplifier is Scandinavian simplicity and elegance personified and there is a simple button placed centrally that has an LED beneath it and beneath that the very tiny branding. Personally, I really like this simple and elegant approach. When the amp is turned on at the back it goes into standby mode and the LED is purple for a few seconds before turning white and indicating that the amplifier is ready to play. If the input signal to the amp is too high then the amp’s protection circuits will be triggered and the LED will indicate this with a red/green light depending on which channel has been turned off. There are other functions of the LED to indicate error messages but I didn’t experience them and so are beyond the scope of this review. The LEDs are not of the type that could double as aircraft landing lights or lighthouse beacons and are very nice and low-key subtle. The casework on the amplifier is very nice indeed and has vents for the internal fans - something I wasn’t expecting, but which should only come into operation when the amp is pushed very hard and continuously or it is placed in a room that is hotter than 30 degrees celsius. A cool (pun intended) of the amp is that these fans have “mesh” filters situated either side of the amp that trap any dust from getting into the amp when the fans are working and these (they are attached magnetically) can be removed and cleaned should you ever need to. Clearly, there is a lot of thought gone into this amplifier and whilst it is based on Ncore NC500 modules, it would seem that this is not another Class D amp where the modules are simply whacked in a box with a suitable power supply. Indeed, the company’s website talks of there being no degrading potentiometers in the signal chain, a bespoke buffer stage, and “multi-step EMI filtering in the input stage to “keep harmful radio waves from the audio circuit”. In addition to this Vera Audio tell us that the “entire entrance stage is mounted in a screen in a separate chamber inside the cabinet” and the Neutrik XLR
connectors are also given extra shielding.
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And that’s your lot with regards to how this amplifier is put together. From my perspective what I like about this amp is, as I mentioned, that it’s not just a couple of Ncore modules put in a box. There seems to have been a lot of thought and consideration given to the design of the amplifier and a level of transparency as to what has been done that is rare in the audio industry.
SOUND OF THE VERA AUDIO POWER AMPLIFIER For the duration of this review, the amp was hooked up to our VINIUS Preamplifier, Audiovector R6 speakers, and the usual reference electronics and sources we use in all our tests. I am no stranger to Class D amplifiers and certainly no stranger to the NCore modules used in this amp. I’ve been a long-time champion of Class D and I genuinely believe that they offer superb sound (when implemented well) for very little (in the grand scheme of things) outlay. For me the key features and benefits of Class D are that they are very quiet and very clean sounding. However, I must add that despite all that, in the main reference system, we have chosen to go with Class A and Class A/B amplifiers more recently, though in our second system, the Class D Merrill Thor amplifiers remain. With regards to set up, I did experiment quite a bit with the gain switches to get what I considered to be the best match for our TVC amp and I found that the 21 dB position worked best in this set up. The gain feature is one that I think is a really excellent feature on this power amplifier as it allows its optimal use with any number of preamplifiers, with the caveat that they must have XLR outputs. I never noticed the fans come switch in and so can’t comment on how quiet or otherwise they are. Needless to say this is a deathly quiet amplifier and when I put on the start of Butthole Surfers’ Sweat Loaf I had to check to see that it was actually playing - it was. Continuing the Butthole Surfers’ theme I played the opening track of Peaches vs Gibby
Haynes and His Problem (redneck Sex) mainly for the bass noise at the start of the track, but also because it’s a brilliant record. The amp doesn’t miss a beat and goes low and is fast and precise with this synthesised bass note that gradually becomes more distorted as the tune continues and the amp captures this excellently, as I assumed it would. What you have here is a kind of sterile amp and whilst some of you reading that statement are going to recoil in horror and immediately see that as a bad thing, the truth of the matter is that if you are looking for what many believe to be the holy grail of amplifier design - a straight wire with gain - then I would suggest this amplifier, and others of its ilk, are going to be right up your street as they add very little of their own flavour to the musical proceedings. Yes, I’m well aware that I’ve already said we no longer use Class D in this system, but if I was on a tighter budget then I’m pretty sure that Class D (and perhaps even this very amplifier) would find its way into the system and remain there - certainly, if I was looking at an amp in the sub £3K range then Class D amps would feature large.
The live recording of Poison Girls Voodoo Pappadollar off the Dig This record comes across as exactly what it is - a pretty basic live recording. However, that is what the recording sounds like and the powerful fragility of Vi’s vocal comes across brilliantly “live” and a bit crap. My copy of this is not a good one and the Vera Audio amplifier hides none of this, nor the background hum that is on this copy. This is a mixed bag, of course, and it means that unless you have good recordings of well-produced tracks, you are going to notice their shortcomings. Actually, I think this is a good thing and to some extent (and I’m going to contradict myself somewhat with regards to statements I’ve made before) this makes the case for spending on quality recordings, though I’d temper this with there being a limit to what I think are reasonable prices to ask for “audiophile” recordings. Cut to the excellently recorded and self-titled album ti-an-guis (96/24) and you are presented with what I guess is on the file and the original recording. There are fast-paced dynamics on show and the sweetness of the vocal performance shines through, as do the acoustics of the recording and the recording space, but that is sort of what was to be expected. Distortion is, to my lugs, inaudible and any colouration and “flavour” is coming from the DAC and the
speakers we use in this system.
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There’s really not much else to say about this amplifier if I’m honest, and whilst it would be easy for me to ramble on about this record I listened to and go into the fine detail of everything I heard in a particular recording, I genuinely don’t think there is a great deal of point in doing that here. What we have here is an amplifier that, to my ears, is pretty much as true to what it is being fed as you can get - this is true of many Class D amps. I don’t think it has the bass slam of our Electrocompaniet amplifier, and I don’t think the sound staging is as impressively three-dimensional, but the question then needs to be asked “are these on the file or constructs of the amplifier and speaker interaction”…or put more simply, “which is the more true representation of the file?” I don’t know the answer to that particular question, of course.
comparison both in price and in their make-up than the Electrocompaniet which is ten times its price. Put it this way, if I had to get rid of the current Electrocompaniet amplifier and rationalise my spending, then this would be very high on my list of amplifiers that I’d be looking at, but I’d probably want to add a little softening and put before it a valve amplifier rather than the massively transparent Vinius TVC we currently use and I’d probably buy two. I believe that it is hugely transparent and truthful to the signal it is being fed, whilst not feeling massively clinical or etched in the upper frequencies as I have heard in some amplifiers that push the tops to allude to clarity but which can soon become rather tiring to listen to.
The award I am giving this amplifier is based on comparing it to the Class D amplifiers we own and use as a reference. In this system the Vera Audio amplifier performed at a better level than our MerThis latter point is a much wider discussion in audio rill Thor Class D amplifiers, whilst costing significantand we start to bring in personal preference and ly less. In general, I believe that Class D amplifiers taste into the equation. Personally, I’d much rather based on the Hypex modules perform above their have our Electrocompaniet in this system as it suits pricepoint when compared to Class A and A/B amme, my tastes, and the music I play, whilst remaining plifiers and as such there are many that offer excelpretty (but not absolutely) neutral and “straight wire lent value. Given their modular nature, performance with gain” in its playing. However, if I were to be is not likely to fall below a given level, but some are looking for a tool that gave truth (a tool for measbetter than others and I believe this is down to the urement, perhaps) then maybe I should be looking buffer stages used and the power supplies - the Vera at the Vera Audio amplifier. However (and there are Audio amp we had in for review scores very highly a lot of “howevers” in this review), I don’t only use in these respects, but it also has innovative touches this system to review kit, I use it for my own person- such as the variable gain controls to aid with preal pleasure, and for that reason the much more examplfier/speaker matching, the onboard fans, and pensive Electrocompaniet will be staying! This is not the excellent casework and speaker terminals. This to say that the Vera Audio amplifier is not a pleasure is an excellent iteration of Class D tech’ and I highly to listen to, it is, what I am getting at is that in audio recommend it, with some of the caveats outlined we are looking to get much more from our chosen throughout this review. kit than that “straight wire with gain”, though I’m sure there will be those reading this and screaming at their screens and saying “no, that is exactly what we are looking for!”. I maintain that the sooner we start to appreciate that audio and the pursuit of I actually think that this is a bit of a steal of an audio-nirvana is not a simple case of producing the amplifier for the asking price and I think that at this most transparent this or that, then the better we price it is the best Class D amplifier I have yet heard will understand individuals’ choices in the kit they (caveat - from memory) - I have not heard the Mola have in their systems. Mola offerings in our system and so cannot comment on them and where this amp sits. With all that said, this could well be the best sub 3000 euro Class D amp I have used in this system… Class D is an interesting beast and the argument though I can’t actually accurately remember each may well be that one Ncore NC500 should sound and every amplifier that has gone through this syspretty much the same as all the others, but this tem. I do think it is a better amplifier than the Thor is just not my experience and some are definitely Merrill amps we use and that is perhaps a better better than others and I think a good deal of that is
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down to the buffer-stage and power supplies used. The attention to detail with the Vera Audio amp is really excellent and whilst some may well moan that this is a module amp and so costs are known, the truth is that there are little details here that stand this amp apart from the crowd; The excellently thought out bodywork, the gain switches, the LED on the front ( I haven’t gone into the whole way it works for errors), the very good quality speaker cables… In this system, the amp was deadly quiet to the point I had to check at least one record was playing and as such it should be an excellent match for ultra-sensitive loudspeakers (though the power it has is going to be overkill) like single-driver widebanders or horns.
A nice looking and well-put-together package with good quality hardware like the speaker binding posts The magnetic fan filters are a nice touch as is the logo on the top of the unit Clever but not obtrusive LED on the front Onboard fans to keep it cool but I never had them used The 12V trigger was superfluous to my needs Sound Quality:
I thoroughly recommend this amplifier from a brand I had not heard of before but wish all the very best for the future.
Like most high-quality Class D amplifiers that I have heard, this amp is quiet and very transparent sounding, to the point that some may well wish to temper that with something a little smoother sounding by way of a preamplifier
AT A GLANCE
Clinical sounding but not artificially so in the topend presentation
Build And Features:
Good bass slam but I prefer a little more lift in this
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region The soundstaging is good and likely accurate but perhaps I prefer a little more boost here too Value For Money: The Vera Audio amplifier is a very nicely put-together bit of kit that sounds excellent. Personally, I think it offers very good value for money, despite it costing more than some of the other boutique makers of Hypex module amplifiers We Loved: Its transparency and relative truthfulness to the files that it is presented with The fit and finish are great It really is VERY quiet with no background hum or any noise We Didn’t Love So Much: Can be a little too much with high-resolution recordings and some will want to temper that with a less revealing or more soft-sounding preamplifier. I have
made this comment about several Class D amplifiers in the past Crap records still sound crap and the amp isn’t going to mask poor recordings or bad copies of records - this is what you accept with high-fidelity reproduction You will need good quality components ahead of this amplifier otherwise it will pretty quickly reveal their inadequacies Elevator Pitch Review: This Norwegian amplifier is beautifully and thoughtfully constructed around the Hypex NC500 modules with a buffer stage made by Vera Audio. Sonically it is much of what you would expect from a well-put-together Class D amplifier and majors on quietness allied with an unembellished sonic performance. Price: 28,000 NOK, which at the time of writing equates to £2121 or 2437 euros plus VAT.
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AURORASOUND HFSA-01 INTEGRATED AMPLIFIER Today’s young drivers could well be getting deaf, blasting out their 200W car ghetto blasters, especially late at night and outside my house. Very annoying. So I wonder how they’d cope with a mere 14 watts per channel EL84 tube amplifier the size of the Aurorasound HFSA-01. Would they find the tubes working to their limits giving them enough oomph for their own listening sessions? Well, with the right speakers 14W is really more than you should need to enjoy top-quality music. My own EL84-based Leak Stereo 20 comes in at 11W when plugged into my Graham Audio LS5/9s. I wanted to find out if this £3699 Aurorasound integrated machine was loud enough as well as musical enough to keep me happy in my music room during the few weeks I had it on loan.
Aurorasound is a Japanese company based in Yokohoma, set up by Shinobu Karaki in 2013. Having previously worked at Texas Instruments for 28 years, the first product to be launched was a specialist phono stage called VIDA using LCR (inductor/capacitor/resistor) equalisation rather than the more usual CR (capacitor/resistor) or feedback-based eq (The integrated being reviewed here has a CR based MM phonostage). After the VIDA came the PREDA, a line stage using auto transformers, and a headphone amplifier called the HEADA. More recently the 300 B-based 28W PADA-300B mono power amp was introduced, gaining much interest in the audio press. Now, the HFSA-01 has been introduced in response to a demand for a good-sounding integrated with a quiet MM phono input.
KNOBS AND NERDS Karaki is almost something of a nerd regarding Japanese devices made in the 70’s & 80’s. Specifically, Karaki collects & hoards rare, ‘made for audio’ transistors and Fets that were produced in Japan in the way some people collect rare, vintage, audio-specific valves - he collects them in the way that I collect reel-to-reel tape recorders, and he includes the more interesting ones in his designs when availability and suitability allow. This shows in the HFSA, as it really does look like something from the past, all that is missing are Bakelite knobs! Indeed, after requests from customers, the rather basic plastic knobs as on the review sample can be supplied (by way of an upgrade) with the option-
In this Aurorasound HFSA-01 integrated review, Janine Elliot takes a listen to this valve amplifier that uses the EL84 valve/tube and costs £3699 in the UK.
Reviewed by Janine Elliot
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al wooden knobs that match the gorgeous mahogany cheeks at either end of the front panel, making the unit look extremely retro and good looking. Like many, many audio CEOs, Shinabu is a keen musician playing as he does the guitar. Indeed, it’s no coincidence to find that the best audio manufacturers seem to be musicians as they know what a good live sound should be.
BUILD AND FEATURES OF THE AURORASOUND HFSA-01 INTEGRATED AMPLIFIER The initials HFSA stand for Hi Fidelity Stereo Amplifier. The amplifier is well laid out both front and rear and additionally the interior looks well-built and with good components, such as Dale resistors, Wima and Philips caps, Nichicon Muse electrolytic caps, and an Alps potentiometer. The front has four knobs, the first two being a switchable bass/treble tone controls, and the other two the volume control and source selection. It is good to see a ¼ inch headphone socket to the right which cuts the LS output when headphones are inserted. There is no separate headphone circuitry, rather output is taken from the buffer output after the preamplifier, and offers sufficient oomph even for my Sennheiser HD650’s. The front panel also contains the on/off switch on the left which lights up red, plus a stereo/mono switch on the right. There is no remote control. At the rear are the RCA sockets for Line 1, Line 2, CD, and MM phono-stage. If you have massive plugs and thick cables you might need to change them because each pair of sockets sits very close together, like they were in the 60s/70’s. There are options for 4 or 8 ohm speaker connections. The feet are good quality making the unit well-protected from vibration, very important for microphonic valves. An IEC mains cable is not bundled with the unit and the unit comes in a box with solid polystyrene protection. That is all very good, but makes it very hard to get the unit in and out of the box! The highlight of this class AB amplifier is the excellent EL84 pentode tube developed by Philips in
1953, very popular as the output stage of an amplifier, which in push pull configuration pairs can create around 10-14W. However, in the Aurorasound there is no 12ax7 in the front end as in my Stereo 20, rather Shinobu deploys transistors as the drivers for the tubes and rectification. Consequently, the hybrid amplifier offers solid-state punch with the musicality of the valves. The tone controls are based on a Burr Brown OPA604. These knobs can also be used as an EQ unit for the MM phonostage, coming as it does with an overlay to place over the tone control and adjust for Decca, Columbia, AES, NAB, and 78sp records, or kept flat or switched off for the more usual RIAA curve. Shinobu has always taken great interest in phono-stage EQ, as can be shown in his excellent EQ100 phono-stage which allows you to switch to various EQ settings, just as in my 1950’s Leak Varislope (variable-slope) preamplifier. This prevents colouration if set incorrectly. The volume control is set before the output stage, and as this is such a quiet amplifier it shows just how well-designed the amplifier section is.
SOUND QUALITY To start my listening sessions, I put on London Grammar “Wild Eyed” from the album ‘Truth is a Beautiful Thing’. This had excellent bass detail and extension. Tops are good but not quite as extended as some amps, though sounding very much as I’d expect an EL84. The bass end was energetic, and the music gave a very good musical timbre. To really test that top end I put on Pat Metheny Group ‘The Way Up’ with all its brilliantly mic’d drum kit, and all sounded clear and believable. The only drawback was a slight loss of excitement in the music, though this improved after the electronics warmed up. For more detail, I put on the excellent Patricia Barber’s ‘Live in France’ album. There was good amount of speed and detail, and a very dynamic performance from such a small output amplifier. Pete Belasco’s “Without Within” had plenty of beautiful digital strings and piano, and, like the Barber album, showed that both male and female vocals had plenty of warmth and musicality with this amplifier. Warming it up a bit with Robert Palmer’s “Some Guys Have All the Luck” there was excellent speed from the kick and tom-toms and I really enjoyed listening, reminding me a little of my Stereo 20. Only
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when turning to Queen Symphony “VI Andante Sostenuto” (Tolga Kashifi Royal Philharmonic Orchestra) did I sense a slight lack of excitement, it only coming to life when I turned up the volume to 60%. This amp really needs to be driven to get it to its best. Playing the very gentle Vaughan Williams Symphonic Poem Tintagel (LSO, Sir John Barbirolli) the music was beautifully portrayed with lots of clarity and musicality. Similarly, his fifth symphony was a breath of fresh air with beautiful cellos and violins and space between each instrument in the soundstage.
After listening to enough 24/96 digital sources I turned to reel-to-reel and ‘Jazz Masters 1’ from STS. This is such a brilliantly engineered old-school album. The EL84s fitted in beautifully, sounding as clear on this amp as they do on my Stereo 20. Cymbals were precise, the saxophone played like treacle, and the accompaniment harmonized beautifully with the occasional vocal grunt of “yes indeed” and “careful now”. This amp was being very careful, not letting anything go unheard. The extreme dynamic range on this album was easily catered for, with nothing sounding stressed. Plugging in my Sennheiser HD650’s the music was just as exciting, with excellent bass end and very low noise. Blue’s singer Nina Simone’s “Be My Husband” was even more dynamic. Everything was presented well across the soundstage within the confines of the LS5/9s. Not a lot extended out of the speaker area. “Nobody Knows You when you’re Down and Out” is another blues number where everything was tight and beautifully presented in a rather depressing musical nature (as it should be). The percussion was tight, guitar and flute were tastefully performed and Nina’s voice was clear and powerful. At 40% volume this was just adequate for my listening room. EQ was always switched out as it was now when I played the MM phono-stage. This was a well-designed circuitry showing Shinobu’s keen interest in making vinyl sound good. For listening I used my Technics SL-Q2 direct drive turntable with Ortofon VMS20e Mk2 cartridge and my Michell Hydraulic Reference/SME3/Shure V15iv setups. The performance worked really well on both retro setups. Jethro Tull’s ‘Bursting Out’ double album is an excellently mixed live album and contains a wide range of instruments including Ian Anderson playing flute as
well as his unmistakable vocals. This album is better than most live albums I have in my collection, with great mic’ing including the audience. There was excellent detail from the phono-stage and bass was controlled and extended. The spoken introductions were equally clear showing the excellent midrange from the EL84s. “Skating Away on the Thin Ice of the New Day” was very mobile with excellent closemic’d percussion and marimba from Martin Barre. “Night and Day” from Clare Teal with the Syd Lawrence Orchestra (Chasing the Dragon; ‘A Tribute to Ella Fitzgerald’) had excellent spread, detail, and clarity - for example, between the tracks of this Direct-Cut disc you can hear them turning pages or making noises. Bursts from brass were energized but controlled and the piano was played sensitively. This album did show the slight lack of reserves from the amplifier and volume needed to be well over halfway to give it the vavavoom Clare’s voice needed to be put across with authority. All in all, though, this was a very pleasant performer showing the advantages of tubes. Genesis’s “Turn it On Again” is always hard to sound good on any amplifier, no matter how good, and whilst it was detailed with excellent vocals from Phil Collins the drums weren’t quite as clear and lacking depth.
CONCLUSION This was a highly engrossing product giving me tons of fun per watt. Everything was harmonious with excellent clarity and a fair amount of dynamism for such a small output. Mids were sublime and top end was pin sharp and fast. The unimposing exterior hid within it a product of excellent calibre, and well worth exploring if you perhaps don’t want to annoy the whole street.
AT A GLANCE Build Quality: Very well put together Each pair of RCA sockets are fairly close Sound Quality:
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Excellent musical performance from the highly respected EL84s Value For Money: £3699 is a good price for this amplifier that just does everything well Coming complete with MM phono-stage makes it even better value
Engaging sound We Didn’t Love So Much: Some might not like the retro style, especially the knobs Those RCA socket pairs are close together
Excellent midrange
Elevator Pitch Review: I didn’t need to worry about this amplifier being just 14W as this was more than enough to fill my living room with such a good sound. The EL84 is a very well-respected tube and I wasn’t to be disappointed. Coming with a very quiet moving magnet phono-stage this was a very pleasing retro-style setup.
Transparency
Price: £3699
We Loved: Clarity
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AUDIOLAB 7000A INTEGRATED AMPLIFIER AND 7000CDT CD TRANSPORT Audiolab and their 7000 series integrated amplifier and CD transport on paper look to repreWhen I ventured into the realm of reviewing HiFi equipment a few years ago, my friend and fellow HiFi Pig contributor, John Scott, loaned sent excellent value for me his beloved 8000A to pair with my own ageing components. I became quite fond of it and was very keen to check out the latest offermoney at around £1600 ing from Audiolab in what they pitch as the ‘mid-tier’ full-size component range. for the pair, but how do BUILD QUALITY AND FEATURES OF they perform? Michael Fairbairn takes a listen THE AUDIOLAB 7000A for HiFi PiG INTEGRATED STEREO AMPLIFIER AND 7000CDT CD TRANSPORT Audiolab’s latest range of HiFi components is the 7000 series, which inludes the 7000A, 7000CDT and 7000N Play network audio streamer. Audiolab came into prominence some 40 odd years ago, much like myself. Back then the much-lauded 8000A integrated stereo amplifier was hot on the market and is still considered a good piece of equipment to this day.
The amplifier and CD transport were both packaged neatly and securely, with consideration for the products using minimal yet sturdy materials. Nice to see some thought put into that, as first impressions often count for so much. The amp felt reassuringly weighty as I removed it from the box (8.4kg compared to the 7.8 of its younger 6000A sibling, to be precise). I immediately had the sense that I was holding something quite special. Both components are well-designed with a sleek metal chassis that has a classic and somewhat familiar look employing an unfussy finish with minimal controls. The aesthetics ticked all of the right boxes for me while coming across as more high-end than the relatively modest price tags might imply. On the front of the amplifier you have the power button to take the amp out of standby, followed by the remote control sensor and then
Reviewed by Michael Fairbairn
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a 1/2 inch headphone input. The latter is not something I have ever made use of on any amp and it was no exception here but I’m sure it will be a great bonus for those who are headphone users, and Audiolab’s press release proudly suggests, ...” a dynamic and detailed performance with all manner of headphones is assured.” Given the level of acclaim the company have garnered for their 6000A, from which improvements have been made to the Class AB circuitry by Jan Ertner, Audiolab’s lead electronics designer, I will have to take their word for it but have every reason to assume that it does just that.
The fascia of the 7000A boasts three rotary dials for volume, mode and a variety of analogue/digital input selections. Each of these has a clean and smooth feel and matches the sharp finish of the overall look. The volume knob also allows you to mute the amp with a single press. Three operational mode options can be selected to provide either Integrated, Pre or Pre-Power. Integrated mode utilises the pre and power amp stages, allowing for the connection of digital and analogue sources as well as speakers to the gold-plated binding posts on the back of the amp. Should you prefer to have a power amp-only function, ‘Pre-Power’ does just that by disconnecting the pre and power amp stages. Conversely, ‘Pre Mode’ switches the 7000A into a standalone DAC/preamp. This is an attractive and versatile set of options for someone like me, who is considering potential options to upgrade my reference system but is yet to decide on the best combination of products. I tend towards the preference of keeping components separate, making this really nice to have should you be of a similar mind. Another smart dual-use feature of the Mode knob is the ability to access further menu settings, including digital filter selection, upsampling, input sensitivity adjustment, balance control, automatic standby switching, and volume curtailment. Lots of options to play with for those who like to tailor the sound to their own room and preference. One of the most appealing features of both the amplifier and CD transport is the 2.8 inch LCD screen, with the GUI in colour (compared to the monochrome display of the 6000A, for reference). It’s an attractive addition, nicely centred and can be switched between your preferred view on the 7000A. Initially, I thought it might be a bit of a novelty to have a VU meter that reacts to the levels of the source, but I found it to be quite enjoyable
and satisfying to see. I tended to use the settings and format data screen on the amplifier or opt for it to be switched off entirely, but, on both devices, you also have the choice to adjust brightness or for it to come on when you select a function and then switch off again. I appreciated the flexibility, as opposed to being forced to accept a single experience. The transport display is slightly more limited and simply shows information about tracks from CDs and USB-connected storage devices. The back of the 7000A boasts quite an array of inputs, compared to the fairly limited set of analogue connections on my Pathos Classic One MKIII integrated amplifier. This was a real treat for me. There is a 12v trigger connection that allows for the integration and control of additional Audiolab components. Further digital inputs are a single USB Type A for firmware updates, 2 coaxial, 2 optical, a USB type B digital for devices such as PCs/Laptops, phones and tablets, or external storage units. In my case, I used it for my new Raspberry PI streamer running Ropieee and it was a seamless process to locate and connect to it. Last but by no means least is the HDMI ARC, which affords it the benefit of being considered worthy of a place in the centre of the home to be easily integrated with your audio-visual setup. More on that later. Analogue sources are also well catered for with three line-level RCA inputs and a phono stage to support moving magnet cartridges. The company states, “Audiolab has tweaked the 7000A’s MM phono stage to improve performance compared to the 6000A, with precise RIAA equalisation and input filtering to ensure vinyl is treated with as much care as digital sources.”
Having relied on a variety of temporary solutions for a DAC in my reference system (Allo Boss DAC hat, Cambridge Audio DAC Magic, to name just two), it was a relief to have what is considered to be stateof-the-art circuitry at my disposal. Audiolab has utilised a new-generation 32-bit Sabre chip (ES9038Q2M), which supports PCM to 32-bit/768kHz and DSD to 22.5792MHz (DSD512) via USB. In addition, full MQA decoding is supported and the 7000A is certified ‘Roon Tested’. Bluetooth 5 reception, with aptX HD support, rounds out the digital connectivity available and it
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could not have been simpler to use. Streaming directly from my phone, I was able to show off to the less audiophile-minded members of our household (my wife and two young kids) how easily I could let them hear their favourite songs. Even the songs of Encanto sounded great on this system.
The output power per channel of the 7000A is a more than adequate 70W into 8 ohms, matching the spec of my Pathos. On paper, the amp has sufficient muscle to take on more demanding loads though, with a maximum current delivery of 9 Amps. In my case, a pair of pint-sized Leema Xen 2 nearfield studio monitors. They really are diminutive (measuring just 21cm x 14cm x 20cm (HWD) and with a volume of five cubic litres, 85dB efficiency and an impedance of 6 Ohms. I have come close to listing them for sale several times, as they are pretty tough to drive to really get the best out of them and really not best suited to my current reference amplifier. As much I love my Pathos Classic One MKIII stereo integrated amp, the two components really do make uneasy bedfellows. The Pathos is a beautiful piece of engineering and has a special hug of sound for music that is more on the gentle side. The pre-stage is Class A with all tubes with an exquisite sense of airiness and a proper human feel about it. The power stage is solid state, Class A/AB. It can cope with more demanding music, such as heavy rock, but I would not say that is its comfort zone. When presented with complex rock arrangements it often lacks the oomph, bass control and clarity to fully make the track shine or pack any real kind of punch. Despite their respective and collective limitations I do still enjoy them and have not yet decided on replacements.
when trying out HiFi gear with driven rock music is its ability to draw out the satisfying rattle of a bass guitar played with attack paired with a kick drum that you can actually feel as well as hear clearly. With that in mind, I popped Scream Dracula Scream by Rocket From The Crypt in the CD tray. Young Livers is a vibrant and uplifting punk n’ roll number, featuring a propulsive beat embellished with horns. The Audiolab gear was clearly capable of drawing the best out of all of these elements and more. The depth was there with the horns arrangement and not lost in a mess of guitars and layered vocals, all of which were well separated and presented in a cohesive manner.
Call Me Little Sunshine by Ghost is a much more recent song than the first two I played and has a slick, modern hard rock production. This time I was streaming and was pleased to get the grunt of the guitars and drums coming to the fore during the intro, while the brooding and haunting feel of the more stripped-back verses were deftly delivered with a drive and a sense of urgency. the looping guitar and bass should feel stirring with a real sense of space and that’s just what came across. Furthermore, Tobias Forge’s eery vocal was given plenty of room to breathe.
John Moreland’s album High On Tulsa Heat is an honest and heartfelt collection of alt-country gems full of hope-laden sadness, delivered with heartbreaking and gravelly vocals. It’s beautifully human in a warm and earthy way with simple acoustic guitar arrangements. This is best exemplified on You Don’t Care For Me Enough To Cry, which I have enjoyed immensely many times via my Pathos/Leema combo, as this is the kind of music with which they truly excel. While streaming with the 7000A I got that engaging texture and sense of intimacy but perhaps just a tad more on the clinical or analytical side than with the Pathos. That’s not to say I didn’t Up first I played Schism by Tool on CD. It is a dense enjoy it, it was still engaging and with a very open and rhythmic prog/alternative rock track that ebbs presentation on the stripped-back accompaniment, and flows from sparse arrangements to sections that but I did miss that added touch of warmth in the pack a lot of punch and weight. On my reference top end and the resolve from the tubes that I’m system, it tends to be quite closed in, losing that more used to. The best way I could really describe feeling of rise and fall and definitely lacks drive and the difference is the feeling with the Pathos of John attack. With the Audiolab pairing, it was nothing of Moreland actually sitting in the room in front of me the sort and I found it to be more than capable of performing for an audience of one. With the Audihandling the heft while giving the track a tighter, olab he was almost there but it felt more like a very more controlled delivery overall. good copy. I could absolutely live with that though, because the weariness in his voice was still very One of the elusive elements I have listened out for relatable and touching.
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REVIEW Taking that as my cue to stick with tracks in a similar, rootsy singer-songwriter vein, Brian Fallon’s (The Gaslight Anthem) Hard Feelings stepped things up a notch with a piano-led band arrangement. I played his solo album on almost constant repeat directly on my phone every night when my son was born and I was rocking him to sleep. The gentle, laidback feel throughout and the lush, harmony-laden arrangements were perfect to relax both of us and it worked to get him settled down for the night. I grew very fond of the entire album, Local Honey, and this track is a real standout. Calling up the track on the CDT, it opens with an organ drone, sparse piano chords and Fallon’s heartbroken, introspective vocal, everything felt perfectly balanced with a luscious tone and an excellent breadth and depth to the soundstage. As the song builds, the restraint of the drums is crucial to the pulse, never allowing the music to feel rushed or pushed. I was delighted to hear the detail and feel of every tom beat and brush stroke of the expressive performance. Next, I decided to try out a comparison between streaming audio only & TV from Disney+. I’m not ashamed to admit that I have become very fond of the following songs, written by Lin-Manuel Miranda, who has created award-winning Broadway musicals, as well as soundtracks for animated Disney films such as Encanto and Moana, among countless other film and television productions. I have been subjected to the songs ad infinitum while watching the films and just about every time I take my son and daughter anywhere in the car. Disney musical production is typically excellent and even translates well via an average TV sounbdbar or car stereo, so I was really curious to hear what else might be uncovered when listening with the 7000A. Surface Pressure from the soundtrack of Encanto is the most-requested by my kids, in most part due to the fantastic vocal prowess of actress Jessica Darrow and the upbeat feel of the song. Her technique is exceptional with a deep, rich timbre and soaring range and the musical accompaniment is synth-laden but underpinned by bass and acoustic drums that really come to life during the reggaeton and Latin-infused dance beat sections. What was already a joyous piece of music on those more limited playback sources became all the more alive with greater depth in the bass and super tight grip and control in the pushed rhythms when streaming the audio. It was expansive and uplifting where required and
gentle and intimate in the more heartfelt breakdowns. This was my first foray into witnessing the results I would get with hooking the TV up to the 7000A via the ARC connection and, while playing the same film and song from Disney+, I was equally impressed by what I heard. My ears took a minute to adjust to the sensation of watching the film and hearing the audio playback via our centrally positioned soundbar, compared to the Leemas positioned on either side of the TV. It was all the more rewarding to hear the song and dialogue greatly enhanced by the Audiolab though. My wife wasn’t so quick to adjust and I was asked to revert to the soundbar only, which has been a bit of a challenge since because I can’t unhear the great improvements experienced with the 7000A doing the hard work. I should add that the kids both loved it. Sticking with the same theme of family-endorsed music, we listened to more Lin-Manuel Mirandpenned tracks from Encanto and Moana. The Encanto track featured beautifully rich, impassioned vocal performances by Sebastian Yatra on Dos Orugitas (sung in Spanish) and How Far I’ll Go from Moana sung by Auliʻi Cravalho. They both have superb diction that is perfectly showcased front and centre via the 7000A with crisp and clean quality. The gentle, swaying musical accompaniments were equally rich and detailed but never dominating against the prominence of the singers in the mix. After I had done my fatherly bit, it was my turn to check out a movie that was more up my street. Again the ARC connectivity showed what it is capable of and certainly didn’t disappoint with Blade Runner 2049. The opening scene involves tense dialogue between Ryan Gosling as the main character and one of the hunted rogue replicants. I was immediately drawn right into the moment with their one-to-one exchange, which erupts into a full-on fight scene with thumps and crashes as the opponents tussle. It felt real and engaging as Gosling crashed through a wall, landing in a crumpled heap. Gripping stuff made all the more compelling by the amplifier.
QUIBBLES One consideration when introducing more than £1500 worth of equipment into a living space that
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is shared with the less coordinated or careful members of one’s family is the safety of the components. Both of my kids were curious and pushed a few buttons but I wasn’t too concerned, as both units are ruggedly built and could withstand some prodding. The only part that felt like it needed to be handled with extra care (by anyone) was the CD tray. In my opinion, it felt a tad flimsy and lightweight and I might have liked to see a more robust option used. Despite that, it was very neat and slick with a smooth loading mechanism and I considered it preferable to a slot-loading function that you would find in the average car stereo and is also incorporated in the design of the earlier Audiolab 6000CDT model. Anyone who has ever used a remote control will know that they can often be dropped, chewed, slobbered on (if you have kids and/or pets) and misplaced on a regular basis. The supplied remote controls for both the 7000A and CDT match, thus negating the need for more than one, and selecting the source component was simple enough with a single button switch to move between them. To be honest, it took me a little bit of time to get used to that and I initially found myself getting frustrated when either the amp or CDT wouldn’t obey my commands, or if I accidentally powered off one or the other. Ultimately though, I was grateful to have just one extra remote to use and look after alongside the others in my living room. It’s a decent-looking
item too, with a brushed metal finish on the front and clearly marked buttons. In theory, it should also be more difficult to lose due to its size. It is not huge by any means but is longer than most remotes I use for the TV setup. An added bonus though was the ARC function allowing the volume to be controlled by the Samsung TV remote, thus preventing my cherubs from getting their grubby little mitts all over the provided Audiolab one. Sometimes, you have to be thankful for the little things in life.
CONCLUSION The amplifier and CD transport are very well matched and make an excellent pairing, as one would expect from components designed as part of a series. As such, both are definitely a worthy investment. The 7000A (amp) would be ideal for anyone looking for a quality all-rounder to play a variety of musical styles, as well as providing the added bonus of implementing it as a core part of your audio-visual system. It consistently provided itself very capable of dealing with my stubborn loudspeakers but that strong evidence further confirmed what I already suspected, which is it is definitely time for me to replace and upgrade those. I would love to try the 7000A out with less challenging speakers because I have now seen what is possible with the Audiolab.
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Having a combined amp and DAC in a single unit was convenient, particularly when working within the limitations of home decor and limited position options in our living room.
AT A GLANCE Build Quality And Features: Slim profile and sleek aluminium finish (7000A and 7000CDT) Plenty of connection options (7000A) Versatile mode options (7000A) Sound Quality: Well balanced and with a dynamic presentation Very capable of conveying emotion in vocals Open soundstage and deftly handled complex arrangements Value For Money: Excellent value for money with a variety of appealing and flexible features. Additonal mode options on 7000A allow for upgrade potential, making it a very
good investment at this price range. We Loved: Clear, precise, colour GUI on the LCD screens Both units look great and classy enough to fit in with most decor ARC connectivity to pair with TV to improve audio-visual experience We Didn’t Love So Much: 6000CDT disc tray is a bit lightweight/flimsy Remote controls could be better suited to each device Elevator Pitch Review: I was very happy with the sound I got from the amplifier and CD transport and would gladly use them in my living room listening space. They are handsome-looking components and sufficiently stylish to earn a place in the heart of my home and met with acceptance from all family members. Price: 7000A £1099 - 7000CDT £549
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432 EVO MASTER MUSIC SERVER
The 432 EVO MASTER is the range-topping music The 432 EVO MASTER is a two-box system with one box having three server from the Belgian power supply units housed within it and the other box having the CD ripper, SSD and streaming gubbins in it. The company’s website says brand 432 EVO. It comes these are true triple linear power supplies with triple AC filtering, triple shielded transformers and triple dual-stage DC regulation, with with a separate power buffering inside the triple DC cables. Three high-end silver colour-codsupply with three ined DC cables are included to join the two units. The PSUs are from Sbooster but 432 say each is for specified voltages and specific to the dividual PSUs and uses MASTER. the company’s 432 tunYou have onboard and bit-perfect CD ripping via a TEAC drive, 2TB of onboard SSD drive that sits in its own sprung housing to minimise ing. Read on for more vibrations, SATA noise filtering and SATA protocol tuning for lower EMI on the SDD, upsampling with 10 selectable and tweakable upsample about this interesting filters, Bit-perfect mode, upsample only mode or upsample with 432 Hz post-processing, remote supported Linux with realtime kernel, and and novel approach to dedicated CPU core for audio, and separated cores for the library management (Roon or LMS), and no reclocking with 432 EVO saying “our serving files to your high-end USB board is directly clocked (not reclocked) from a dedicated ultra-low jitter clock board, and both are powered independently.” DAC. BUILD AND FUNCTIONALITY OF THE 432 EVO MASTER
Very little of the above really interests me if I’m perfectly honest and personally I don’t need to know how my car runs, I just want it to work when I put petrol and the keys in it. However, the 432 EVO MASTER two-box package looks really excellent and sleek on the rack.
SET UP The setup of the Master is pretty straight-forward and was completely hassle-free - plug the main unit into the power unit via the three colour-coded wires, plug in the mains socket to the power unit, plug the main unit into the ethernet switch, connect to the DAC via USB,
Reviewed by Stuart Smith
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add it to the Roon app as per usual with a new bit of kit and it’s there on your network displaying all the tunes it has onboard or playing from Qobuz…or whatever streaming service you choose. I’d expected this to be a pretty long and drawn-out process as network kit often is, but it was honestly as plug-andplay as I’ve come across.
The two units sit on top of each other and I used some rubber pucks I was given a long time ago to separate them, but I don’t suppose there is anything to stop users from either sitting the server unit on top of the power unit or, indeed, having them on different shelves of your rack as the connecting cables are long enough to allow this. Frederic gave us some supports to sit the bottom unit on but said they were purely for “effect”, but I actually thought they looked pretty cool and should be made available to buy.
SOUND OF THE 432 EVO MASTER There are, of course, many people who will claim that the source in a digital set-up is of little consequence and that so long as the bit-perfect digital signal is fed to the DAC correctly, then the only thing that can affect the sound (over and above the obvious effects of amplifier, speakers, and cables) is the DAC and that it is the flavour of the DAC that dictates the sound of the digital system. Personally, this has not been my experience, nor the experience of others on the HiFi PiG team and the streamer, the switch, the cables used and other factors can and do have an influence on the overall sound quality of a system. However, and from experience, I would broadly agree that the quality of a DAC has a bigger effect on the sound than the streamer, but we are in the game of small differences coming together to make a greater and better sounding whole with regards to this level of HiFi kit and so I am keeping an open mind. From listening so far, I would suggest that the 432 EVO does something clever with the software and filters used in its processing of the digital signal and that the use of the divided power supplies affects the noise floor on the macro and micro scale. That all sounds like we are getting into HiFi reviewer claptrap mode, but I promise that I won’t be talking about veils being lifted, or as if listening to the music
now is like listening through a new set of ears. The changes here are not night and day differences, but then (as I mentioned a moment ago) we are not looking for night and day differences and as audiophiles or music lovers looking to get the best sound they can in their home, it is these small changes that we are looking to identify. This seeking out the best performance possible from our setups is what the world of the audiophile is all about, but that performance need not (and I’d suggest should not) come at the expense of convenience, and as I suggested earlier in this review, the set up of the 432 EVO MASTER is as simple as can be.
I have used a good few streamers in my time ranging from the very simple (but actually quite good-sounding) Raspberry Pi-based unit to much more expensive units. I ended up with a Stack Audio streamer with an external PSU in one system and an Auralic unit in another system. I think the level of these units and the mention of the Pi kind of suggest that I’m certainly not impressed with the cost of a piece of kit and how it affects performance and that I’m certainly someone who will use a less expensive product IF it performs well sonically. However, the 432 EVO is substantially more expensive than products I have actually bought for use and at the start of this review process I set out to judge it pretty harshly (but fairly) given its not inconsequential asking price. My first impressions when I actually sat down to listen properly and intently were, as outlined above when listening to it uncritically, that the noise level of the system as a whole was dropped and this allowed me to hear further into a recording than with either of my other digital sources. This was particularly evident on acoustic recordings (voices and real instruments mic’d) where the tiny details of the recording and the spatial cues and decays of the room and instruments were really obvious. To my mind, the 432 EVO is not adding anything clever here, but rather it is taking away extraneous noise in the system to make what is presented to the listener without any smearing of the sound. Well recorded piano sounded live with each differently weighted fall of the hammer on strings being clear to hear, as well as the different points in the soundscape where the mic picked up the bass and treble strings - the bass strings were clearly picked up over to the left and the treble the right as they left the piano. I really enjoyed this detail and particularly the sense of liveness it gave to recordings of this type. Similarly,
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on vocals that were recorded in a live space, it was clear to hear an element of the room in the recording. The old audio show favourite of Hugh Masakela’s Stimela had all the percussive sound of Masakela’s voice presented gloriously with each carefully “spoken” part of the introduction coming across with rhythm and preciseness that was there with my other sources, but just a tad more so with the 432 in the system. Again, I think there is something to do with the noise floor going on here, but also something to do with the way the code in the 432 deals with the signal - I’m guessing here, of course. What was exceptionally apparent, though, was the vastness of the stage laid out in front of me on this track. I have no idea of where this was recorded or on what kind of stage, but what was laid before me was a big and wide physical stage with Masakela placed centre and the players quite apart. The backing singers I perceived as being closer and more to the front than the players. I could be absolutely wrong on this, and I’m sure if I am someone will be in touch to point it out, but that is what the recording and the 432 presented to me and, for whatever reason, I was more aware of it than I had been with my other digital sources playing the same tune. A similar spatial effect was evident on Kind of Blue.
All the above is not something I have not heard before and with my own kit, the difference with the 432 in the system is that it is somehow easier to hear and a smidgen more pronounced in its effect. These slight differences in, for want of better words, clarity and definition do add to the overall experience in tangible and recognisable ways that make it a little better and a little more high-fidelity. Whether or not you are willing to make the outlay for the pleasure is a wholly different and personal consideration that only you can make having auditioned it alongside what you currently use and as I have done here. Changing the mood only a little I popped on Cymbeline from Pink Floyd (24/192) and what I found most interesting in listening to this tune (I play it a lot) was the apparent increased hollowness of the percussion drum. Again, a small detail but one that made that part of the recording a little more live and a little more real. Again, I was taken by the way the track seem to hold together in a timing sense ever so slightly “better” than what I’m used to. Something is definitely going on with the timing with the 432 EVO! I note here that this is a really difficult bit of kit for me to review; its effects are clear
to be heard when you compare directly with the products I have to hand, but also the kind of things that you very soon begin to take for granted as you fall into the musical performance - and I did just this with a good number of recordings that were mainly acoustic in their nature. Random Access Memories (is this the new reviewers’ cliche record) (24/88.2) is a very different record to the ones I’ve mentioned so far, but it is another that I have played over and over. Give Life Back to Music sounded a little more “fresh” and with Nile Rodgers’ guitar having a more stop/start to it - more staccato, I suppose. Overall there was a sense of more detail to background noises in the mix on this track, but also a sense of it being a little too precise. I know this latter is an odd statement and it may well be that my taste has been dictated by the products that I have been using over a longer period, but I did feel that musically everything was there, just a little less connecting - a tough one to describe, for sure. I thought long and hard about this point after reading my notes and I went back to listen to the same record over a few times and eventually, it clicked with me - the 432 has you listening in a more analytical way purely because there is a sense of there being more information for your brain to process. As I listened more intently I could hear that the gentle cymbal hits at the end of Game Of Love were more apparent and I began to really get into the sound more and more. This was an odd feeling and to begin with not a wholly satisfying one - give it time and everything does fall into place and you do start to appreciate the extra detail and the sonic experience this brings. The thing that particularly excited me about this once it had all clicked into place in my brain was the way the top end of the frequency scale had more sharpness to it and that staccato feel and shimmering cymbal sounds were the things that really added a degree of excitement to the music. Look, this is not night and day differences from what I’m used to, but the differences are definitely there and do add to the listening experience. I also enjoyed the way that the bass line and the kick drum sound on The Game of Love played off against each other in a way I’d not really fully appreciated before - again, not a huge thing to talk about, but definitely, one that was an improvement over my usual sources. Playing a less hi-res album in the form of Dusty Kid’s epic III recording (16/44.1) I was hard-pressed to hear that the 432 had any impact at all on the
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sound over and above the Stack streamer I had in the system…at first. This led me to believe that the real benefits of the 432 are only to be appreciated with somewhat higher-resolution recordings. There was absolutely nothing wrong with the way the 432 presented this recording, it just wasn’t any better (to my ears) than the way the Stack streamer performed. However, listing more closely and swapping the Stack in and out on the same bit of track the 432 did present the bass in particular slightly differently - the low bass and distorted (almost to nothing) kick on Crepuscolaris seemed somehow dirtier (in a good way) with the 432 playing the track with the filtered (and I think gated) sound having a more impactful feel. The same feeling of their being a more palpable feel to the music occurred on the track Sandalyon, with the falling (a Shepard tone sequence) having more of a psycho-acoustical falling effect than with my other streamer in place.
CONCLUSION This is an interesting machine to have in the system and one that I would be happy to have live in there on a permanent basis if funds allowed. Full disclosure is that I don’t have to hand the GRIMM MU1, Lumin, Innuos, or other streamers at this kind of price point with which to directly compare the 432 EVO Master, and I’m not one that is going to pretend I can remember kit from years or even months ago...or kit that I may have heard at shows. However, what is evident is that particularly on high-resolution files, the 432 brings something to the party that is hard not to sit up and take notice of. My own opinion is that a streamer of this quality will not make a silk purse out of a sow’s ear of a system and that to truly benefit your system needs to be proportionally revealing and resolving. With that former statement made, having the 432 EVO Master in the system for this relatively short period has made me reassess my thoughts on where I may need to go with regards to getting the best out of digital audio files in this, our reference system. Truly, I will find it hard to go back to the already excellent-sounding digital front end I had before, though, as I have stressed throughout this review, the differences and improvements are not night and day, but they are there. And this brings me to the elephant in the room with regard to the 432 EVO Master (and potentially oth-
ers) - the price. We are talking about a big jump in price from what I use on a day-to-day basis and the benefits are clear but not huge. The question (isn’t it always) is, how far as a music lover and audiophile are we prepared to go to eek the last little bits of performance from our systems? If you want the best and can afford it then, with the caveat that I haven’t heard all the options, then the 432 EVO ought to be on your list of devices to audition. Is the 432 EVO Master presenting the recordings exactly as the producers and artists intended… I don’t know. My thoughts on this are that there is potentially something rather clever going on with the coding in the box that adds something to the sound that our (my) brain took a moment or two to adjust to, but ultimately really liked -the 432 Tuning. Something psycho-acoustical in the filtering process that allows our senses to appreciate the music that is played in a more palpable and enjoyable fashion… again, I don’t know and I am only guessing. Whatever my thoughts and conjectures may be with regards to what the 432 EVO Master does to the signal that is fed to the DAC is kind of immaterial, but it does throw up the question that if this is what is happening (along with other obvious benefits like lowering the overall noise-floor), then it may be that one person may prefer one effect/manufacturer over the other. Again, I’m thinking out loud here. Personally, I absolutely loved the 432 playing high-resolution files in this system and found the whole experience somewhat enlightening. As a bit of an addendum; I wrote all the above and then headed over to the 432 EVO website, more to pick out the technical spec of the MASTER more than anything else, and came across a page on the whole “philosophy” behind 432 Hz tuning. If it’s of interest then head on over to their website and have a read, but what particularly interested me (and having written what I have with regards to “filtering and coding” above) was this series of comments “Working as audio dealers Klinkt Beter, we began testing various ways to convert our 440 Hz based music from several genres into 432 Hz, and organized small focus groups. Combining our research results, 58 out of 60 listeners found 432 Hz versions of our test tracks sounding better than the originals in 440 Hz.” Now, having read that it makes sense, that whilst this may well not be “as intended by the producer”, the MASTER is doing something our brains perceive as being “better” and here is
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what the company’s site says is going on in the box: “The 432 EVO stores all of your CD rips in its original pitch. We do not alter the music during ripping via the bit-perfect Teac drive. The same applies for your files on the local storage of the EVO. It’s all happening on the fly, in realtime: During playback, users can either choose between live on the fly 432 Hz conversion (default factory setting), upsample-only mode, or bit-perfect mode. These modes work with any music the 432 EVO can play, independent of the source such as Tidal, Qobuz, Internet Radio, files etc.” Whether you think all the above is “cheating” and getting away from the purity of feeding a DAC only what’s on a file is your business, but have a listen to this interesting concept and see what you reckon! So where do we go with awards on this one? On the one hand, my perception told me, and reading the 432 EVO website confirmed that the output of the MASTER to the DAC is not exactly as per the bit-perfect file - this may irk purists. On the other hand, there is no disputing that whatever the 432 Tuning does appeals to me, with the caveat that it does take a moment for your brain to readjust. My gut says to give this a five-heart rating based on the file being manipulated and not “true” (whatever that is in the digital domain, anyway) but my heart then says “But this did sound incredible on hi-resolution files”. So, I am giving this my Editor’s Choice Award, but with the caveats I allude to in this explanatory paragraph.
AT A GLANCE Build And Features: Onboard ripping of CDs to large SDD Individual PSU outputs to control specific functions on the main unit “Retunes” output to 432 Hz tuning which is very interesting Well put together and good-looking Sound Quality: Exceptionally detailed sound that is at first slightly unusual to listen to until your brain attunes to it, thereafter it is a joyous machine to listen to Value For Money: That is going to be down to personal opinion and your own listening when compared to other offerings in the market. That’s a bit of a cop-out answer, but the 432 EVO is a very different machine to listen to as outlined in the review. Personally, I think it offers reasonably good value. Others may well think that it offers exceptional value and if put in a flashier case could well command a much higher price tag. Something clever is definitely going on with
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the algorithm and I think this “IP” makes up a good proportion of what you are paying for We Loved: The exceptionally detailed sound that you fall into without noticing Totally unfatiguing We Didn’t Love So Much: This is not an immediate “I get this” kind of product but once you get it, you get it.
Elevator Pitch Review: The 432 EVO MASTER is the 15K Euro range-topping music server from this Beligian brand that takes a wholly different and innovative approach to how files are served to your streamer. It’s a very interesting concept that once your brain “gets it” is hard to ignore. It gets my Editor’s Choice Award but you must read the review in full to appreciate why! Price: 14500 Euros for the 2TB version plus 500 euros for the 3D shield, upgraded SATA cable and SSD internal 4th linear rail PSU (as tested). Prices include VAT.
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INNUOS PHOENIX USB Alan McIntosh first heard the concept behind the Innuos Phoenix The rub is that while I was happy to accept that everything from cable construction to isolation products to room correction could be leverUSB at the North West aged to derive changes and improvements in sound reproduction, I have been harder to convince on certain purported “upgrades” when Audio and was so imit came to digital music and specifically how we connect source to reproduction be it via Ethernet (networking) or USB - the protocol pressed he bought one. handling aspects – for the layperson that means network switching, fibre conversion and – to get to the point of this review, USB regeneraHere’s what he thought tion and re-clocking. after he’d given it a Over the years I’ve delved deeper into learning about digital music and have arrived at some conclusions that, more often than not, have been proper listen in his refborne out in listening. One I’ve discussed many times is that when it comes to digital playback the DAC chipset itself is not the full story, it is erence system. simply one component in a chain that includes the input stage, power Almost all my career has been is in the technology sector, following my youth as a computer geek and coder (we called it programming back then) as well as my degree in Computer Science to working in IT and software for more than 20 years.
supply and separation (or not), other chain items such as FPGA, R2R ladder design where implemented, how DSD is handled, how the output stage is handled, galvanic isolation, actual room setup (critical) and any combination of the above ad infinitum. Another conclusion is that “different is far more common than better”, and that the differences are often tiny in the grand scheme.
One thing that my research led me to, and my “Comp Sci” brain rushed to back up was that in a lot of DACs “asynchronous” implementation is used – in simple terms this means the clock (the crystal that oscillates to provide a timer for all operations inside the unit) “pulls” the data in and clocks it to its own frequency – the output from you streamer is “slaved” to your DAC’s clock. This then begs the question, why bother with worrying about what clock is used at source or – as in the case of this review – a re-clocker in between source and DAC - as surely no matter what you do upstream, your DAC rules – one clock to rule them all some might say. No? Just me? Oh well! It’s because of this that I was somewhat sceptical about how useful
Reviewed by Janine Elliot
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a solution such as Innuos’s Phoenix USB re-clocker would be (other re-clockers are available) – surely all you are doing is giving the signal a “reset” before it gets “reset” again at the DAC, anyway? Luckily around the same time I was pondering this, the annual Northwest Audio Show (known to many as Cranage) came around and Innuos were not only present in many other rooms as source but had a dedicated room showing off their latest Pulsar streamer. I made myself that annoying punter and posed this conundrum to the Innuos team, to which they suggested (colour me impressed) we do a live A/B test, in front of everyone. They didn’t have the Phoenix USB itself but the Pulsar has a “lite” version integrated, so while it wasn’t quite apples for apples, it was close enough for me to start my enquiring. Here’s how the dem went down. I chose Jean Michel Jarre’s Arpeggiateur from Concerts in China which I know incredibly well and that has good layers of bass, mid and detailed energetic highs as well as good dynamics and stage presence and we started with the Pulsar feeding a Hegel 590 but from a standard USB output, not the new “reclocked” one. The track played and as usual, we got a lovely live-sounding wide bassline and mid-bass before we add in high and mid “sparkles” of synth bleeps along with percussion. Very good it sounded too for the 45 or so seconds we listened. Quick change and now we are feeding the Hegel 590 from the new re-clocked USB output. Press play on Roon. Bam! The difference was not subtle. Equal parts surprised and impressed I left with a new conundrum – would I get the same results in my own room and system?
I dutifully put my hand in my pocket and the Phoenix USB arrived packed well and double-boxed with a nice cloth bag as well as USB cable, a getting started guide, and power cable. I opted for the silver version which means the front fascia is anodised silver with Innuos’s usual faceted angles design, while the remainder of the box is black – I would have preferred all silver but this is a small grumble (the Phoenix is also available in all black). Set up was as simple as connecting my Innuos Pulse by Audioquest Coffee USB to the Phoenix, then the Phoenix (initially) via a second USB cable to my Hegel 390 – this does mean you need twice as many
USB cables and so budget can be a factor here. After chatting to Innuos it was recommended that to fully run in the capacitors and to allow the oven-controlled clock (OCXO) to come to a settle and to run it for a couple of weeks…so I did just that. Once we were all burned in and my room had been tweaked over a couple of weeks back to proper set up (after some changes due to house sale), I was ready to get a proper listen to the Phoenix USB in my own system. The Phoenix itself is a simple 1 box affair, about a half chassis in size, pretty heavy at 5kg with power in, USB-in, and USB-out. Three feet positioned asymmetrically under the chassis are designed to both stabilise and damp specific areas according to Innuos. Under the hood, however, there is a lot going on.
CONSTRUCTION There are 3 main parts of the solution – linear power supply (derived from the Innuos flagship Statement), one for the USB regenerator and one for the clock, the USB regenerator itself, and the master clock. The USB regenerator uses only a non-switching, linear regulated supply to remove the type of parasitic noise we audiophiles hate. The clock runs directly at 24Mhz rather than relying on a standard 10mhz one and a second 24mhz generator as some use, reducing distortion created by multiple connections. In terms of accuracy, the OCXO in the Phoenix is rated at a very impressive 3ppb - this means errors in the magnitude of 3 parts per BILLION .. whereas (based on my own research) typical oscillators can run up to 100 parts per MILLION. Now I have no way of measuring this, but researching OXCO clocks online, this is not unrealistic - but is class-leading. Taken together this all adds up to (on paper at least) a very clean digital signal with minimal if any jitter. Having an OXCO clock is important. While (as mentioned previously) it’s only one part of the recipe, the clock in use matters – a lot it would seem – so much that the likes of DCS (renowned for hi-end/ eye wateringly expensive digital) for example, use OCXO in their Puccini U-Clock. Most digital devices use cheaper simple Oscillating Crystals or slightly
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better voltage-controlled clocks (VXCO), but OCXO are accepted globally as the most accurate and have the longest lifespan. A quick internet search shows that cheap voltage-controlled clocks can be as little as £2 whereas OXCO’s can run from hundreds of pounds to over a thousand, so already the price point of re-clockers starts to make a bit more sense.
Clocks, for anyone not sure, are responsible for timing, which in turn impacts “jitter” in a digital stream – jitter (to oversimplify) is distortion (in the time domain) that means data is not arriving as it should, so for many of us reducing/removing jitter is highly desired. Working in telecommunications as I do, it’s well understood that jitter is bad and should be reduced where possible. Products like AQ’s Jitterbug are well known and BCN coaxial connections on DAC’s like Chords Qutest are recommended to reduce Jitter. The next rub - USB, while being great to stream at the highest rates including DSD, is very susceptible to jitter – it’s simply not specifically engineered for precise audio, but putting all that to one side I am sure you are ALL asking by now, how does it sound? At this point, I spoke to Nuno, the R and D Director at Innuos about what the Phoenix USB is up to under the hood and got the following response which I am publishing here in full. “The PhoenixUSB does not actually reclock the audio signal that’s being transmitted via USB, it reclocks the USB communication itself. That’s why it uses a 24MHz clock and not the pair of clocks normally used on DACs (such as 22.5792 MHz for 44.1Khz and its multiples). The PhoenixUSB works with any device you connect to it. If you connect a USB drive to it and connect the PhoenixUSB to a computer, the computer will recognise the USB drive there. So what we are doing is actually cleaning another layer of noise that results from the USB communication itself, so it doesn’t affect negatively the DAC. Additionally, instead of doing a galvanic isolation on the 5V and Ground lines coming from the source, we actually replace them with the power on one of the internal linear power supplies. For DACs that power their USB interface via the USB port itself, this alone is a big improvement. So, the first key takeaway is: The PhoenixUSB reclocks the USB signal, not the Audio signal. The audio is not touched in any way. We are often asked if
the PhoenixUSB supports DSD, DXD, and MQA. The answer is that it supports whatever your DAC and source will support because the PhoenixUSB doesn’t care what’s being transmitted. The second takeaway is that we completely regenerate the 5V and ground line on the USB output connecting to the DAC, which will benefit a lot of DACs.” So there you have it straight from the proverbial horse’s mouth.
SOUND QUALITY Despite many reviewers preferring to have a component in their setup for some time and then remove it to hear what’s “missing” I have found shorter focused listening sessions adding and removing said component multiple times to zero in on changes works better for me and this is what I did with the Phoenix. I started my critical listening at home with JMJ’s Arpeggiateur again to see how it compared to the show demo (show conditions are always risky) and after playing it in multiple turns for a minute or so without the Phoenix in play, then in the chain, the results were easy to hear. At both ends of the frequency spectrum, there was a lift and re-definition. The bottom bass note had more slam and gravity, more grunt and scale and at that top end the imaging, focus, and separation of the synth “sparkles” was snapped right in. Flipping back to the standard USB for a second pass and then back to the upgraded, re-clocked one and the same result. The track as a whole has more life and energy to it. Listening to AwolNation’s Sail, as it has such a very distinct bassline, again the Phoenix sharpened the track’s overall top-end focus and tightened the bass “slam”, while also offering a subtle further separation across the track where it’s very busy. Voice, percussion, and stabs were a bit more defined and clearer. Simple Minds’ Someone, Somewhere in Summertime confirmed these experiences further – the Phoenix to me is both cleaning the sound to provide sharper focus and separation, with less smearing and at the same time adding heft and slam to bass. Jitter has a lot to answer for sonically and removing it is a bit of a revelation. My initial tests had been made using the Hegel 390’s
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internal DAC so I tried next with looping a Holo Spring 3 Level 2 DAC into the chain. The Holo Spring tends to offer a slightly more forward and meatier as well as sharper sound than the Hegel’s integrated, but listening across a number of test tracks the sonic changes were consistent in signature. On Princes Sign O’ The Times (remastered) there was a cleaned-up and crisper percussion and voice mix and most evidently that bass timbre and slam continued to impress me. I use Sign O’ the Times a lot to review as poor bass reproduction is very evident, as is overly forward top end… and with the Phoenix, neither was present, but higher registers were more polished. Across more acoustic music such as Jazz and Classical the impact was not as in your face, however, longer listening with, and without the Phoenix painted a contrast once more of energy and clarity, if less “slam” than with rock and electronic music. Timbre was enhanced and the bass had increased layering.
CONCLUSION Despite my initial scepticism at trying what could be viewed as a “tweak” at a pretty steep price point, I am sold. The sonic contrasts are more apparent and more substantial than I sometimes get going DAC to DAC – the gain in bass heft and density, the widening of image, and that sharpening of focus and heightened energy at the top end make this a musthave in my system and having it as a standalone component means I can use it regardless of future changes to DAC or source. It really has changed my opinion of just how much improvements in “secondary” areas of hi-fi can bring to the overall outcome.
AT A GLANCE Build and Features: Usual quality of build from Innuos and looks great
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It’s a good-looking variation on a silver/black box there’s not much else to say Sound Quality: Increased level of bass “slam” on all genres
We Didn’t Love So Much: Nothing bar having to find the budget for it. It is not a low-cost item when viewed in isolation but the improvement it brings warrant it. You will need to double your USB cable investment as well.
I think it is worth the asking price given the sonic improvements it made in my system
Elevator Pitch Review: For anyone who has taken their digital playback system to a good level of reproduction and resolution, relies on USB as a protocol and whose room is fit for critical listening the Innuos Phoenix USB is a must-try. The improvements it brings outweigh the investment and I’d suggest it could be a better next investment for one’s setup than a new DAC, streamer or certainly cables.
We Loved:
Price: £2799 $3749 €3099
Heightened sense of focus at high-frequencies Overall better definition Value For Money:
The sonic improvements are plain and simple. It would be very hard to go back to not having the Phoenix USB in my setup now that I’ve heard what it brings to the party,
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MELCO N1-S38 In his Melco N1-S38 review, Chris Baillie takes a listen to the latest flagship server costing almost £12,000. Is it worth this not Whilst audiophiles in many parts of the world embraced computers in their listening rooms a couple of decades ago, the Japanese were reinconsiderable outlay? luctant to do so. It is no coincidence that Japan still has a large market The Melco name has become synonymous with high-quality audiophile music servers since first introducing their ground-breaking N1A and N1Z models eight or nine years ago. Surprisingly the brand, which hails from Nagoya in Japan, entered the audio world as a manufacturer of high-mass turntables with outboard motors. The company also produced some pre-amplifiers but then moved into the electronics world through Buffalo Electronics, which became a global networking and storage solutions provider. Indeed the name ‘Buffalo’ comes from the brand’s success as a pioneering designer and manufacturer of printer buffers.
for SACD and audiophile CD releases. The inception of the Melco range of servers came by way of providing this market with a network audio solution, which was not a computer. Following the company’s initial success with audio servers, they have enjoyed great success with their range of audiophile switches, which have inspired many imitators. The N1-S38 here was released around the time of the Bristol Hi-Fi Show in February. I was lucky to hear and see one at the show, albeit in an unfamiliar system. At £11,995, it became the most expensive product the brand has produced so far.
BUILD, DESIGN, AND FEATURES OF THE MELCO N1-S38 The ‘S38’ moniker refers to the server’s 3.84TB solid-state hard drive (SSD). SSDs are inherently electrically noisier than HDDs (hard drives), but Melco solves this issue by controlling the unit’s SSD with a secondary power supply. Indeed further secondary power supplies feed all critical components on the main board. The N1’s main power supply is what Melco describe as a ‘massive’ LPSU. The main board is brand new and contains many high-grade electrical components to reduce jitter-inducing noise. The CPU is unchanged from the rest of the range – one of the reasons Melco claim its products sound as good as they
Reviewed by Chris Baillie
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do, is that everything runs ‘just’ fast enough to do its job, therefore avoiding additional electrical noise. The internal Flash Memory module capacity has been increased. The N1-S38 and its lower-priced sister model, the N5-H50, have SFP (small form-factor pluggable), otherwise known as fibre optic inputs. Melco’s S100 and S10 data switches have such outputs, allowing an electrically galvanised connection.
A product at this price level should make a visual and physical impression. The N1-S38 thankfully delivers on both fronts. As an owner and user of Sim Audio Moon electronics, I could not help but notice the visual resemblance. The unit is reassuringly heavy; you can blame that ‘massive’ linear PSU for a large proportion, along with the 5mm thick aluminium casing panels. Whereas my own NA1/2 looks and feels ‘functional’, the N1-S38’s build and design suggest it’s every bit the range-topper that it is. I have heard complaints that the unit lacks the clearance at the bottom of its chassis for fingers, therefore pinching them as the unit is lowered onto a supporting surface. As I slid my review unit onto one of the middle shelves of my rack, my fingers remained unharmed, but I do get their point. The N1-S38 is fitted with vibration-damping feet, so I did not experiment with after-market options, especially as raising the height may have meant the top of the unit was too close to the shelf above. The rear of the unit extends the impression of quality and solidity. As with the lower models in the range, you have an Ethernet input and output; the latter is referred to as ‘Player Port’ in Melco Speak. Both of these sockets are rock-solid. There is also a dedicated USB 2.0 output, which Melco feel sounds better than USB 3.0 – lower speeds mean potentially (claimed) lower noise. A secondary USB 3.0 output will feed a DAC, or accept the input from a USB CD ripping drive, such as the Melco D100, or perhaps a USB stick or HDD for music file input. There is a USB input for an expansion drive, with the final USB socket being for the backup drive. There is also a socket for connecting an external clock and a switch to toggle between the internal and an external clock. Finally, there is the SFP input. At the front of the unit, there is a USB socket, primarily for plugging in a USB stick for importing or playing music, but like the rear port, you can also connect a CD drive. You can now plug a remote reading ‘stick’ into the front (or rear) USB port, allowing users to control the server via remote con-
trol. The front display and controls will be familiar to existing Melco users, although the buttons feel nicer to use here.
The operating system will be familiar to existing users of the ‘EX’ range of Melco components. I wrote a piece on this for HiFi Pig back in February 2021, which was a few months after EX range was launched, so I won’t spend too long talking about this. It does mean the N1-S38 is fully Roon compatible, although unfortunately, I am not a Roon user, so I could not test this feature. The EX upgrades also saw the introduction of Minimserver 2 and Songkong being installed on the machine; again, please refer to the previous article for more info. Melco has its own UPnP App, which is essentially a tailored version of Mconnect. It is only available in IOS, i.e. for Apple. Although I briefly tested the review unit with Bubble UPnP, Mconnect and the Moon MiND App, I primarily used it with the excellent JPlay UPnP App via an ageing iPad. While the N1-S38 came ‘loaded’ with various music, I imported my own library via a backup drive from my personal NA1/2. As the Melco performs its ‘house-keeping’ duties at a low speed, importing my collection took an agonising two days. This is not a job you are likely to perform often though, and the unit can still stream from cloud services or even internet radio whilst it is busy importing. The N1S38 showed up on my network via UPnP Apps and Windows Explorer without hesitation, which was reassuring. The only slight issue I had was that the USB output initially was not showing up as an output option, but a scan through the menu revealed it was set to work with Roon rather than UPnP, so this was quickly rectified.
SOUND OF THE MELCO N1-S38 All testing was carried out in my main system, which consists of a Melco S100 Network Switch fed via an ADOT Fibre Optic converter. My DAC/Streamer is the Moon 780D, which feeds a Moon 600i amplifier. All analogue cables are from Townshend Audio; the speakers are Totem Forest Signatures. I still use the excellent ENO Ethernet cable and filter from Network Acoustics which I tested for ‘Pig in January last year, to connect the Melco the 780D. The USB cable used was the CAD Audio USB-11R. Mains cables are
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a mixture of Chord Co and Russ Andrews, fed via the Chord Co PowerHAUS M6 mains block, which I reviewed for HiFi Pig in February.
Initially, I hooked up the N1-S38 in a similar configuration to my older unit, with a high-quality Ethernet cable feeding it from the S100 switch. After a couple of days, I replaced the Ethernet cable with an SFP fibre optic cable, which produced such an improvement that I left it connected that way.
more rounded, spacious and musically satisfying via the Ethernet output. Once I had worked out how to switch the N1-S38 from Roon to USB mode and compared the two, it was apparent the latter sounded better. Having discovered this, I decided to use the N1-S38 to stream from Qobuz and listen via the USB output to my Moon 780D, which does have a high-quality MiND 2 streamer built-in.
First up was Joni Mitchell’s new live album Live At Newport, in 24/192, which produced another ‘wow Whilst, like all reviewers, I do have certain go-to moment’. Short of being at the gig itself, I cannot test tracks, I mostly start by playing something I imagine this sounding more intimate and emotionhave had on recent rotation to get a feel of what ally involved. The N1-S38 revealed a great sense of the review product is doing. In this case, the music interplay between singers and musicians, which was was a rip of the recently released Analogue Produc- stunning. I next streamed Coyote from her Hejira tions SACD of Steely Dan’s Countdown To Ecstasy. It album via Qobuz in 24/192, which was reproduced was immediately apparent that the music sounded to the highest standard I had so far experienced. Via cleaner and instruments were better separated my older machine, even my locally stored version compared to how it sounded via my older unit. As often sounded somewhat shut-in and restrained in the album progressed, I noted guitars had more comparison. Here Joni’s vocals were reproduced in body and detail. Dating back to 1973, some tracks a solid central location, but the guitars and acoustic on this album sound more compressed than others, bass now sounded so natural and open I found it but the N1-S38 seemed to dig out more of the good hard to believe it was the same track. Best of all was stuff than my N1A/2. So a good first impression, but the insight into Joni’s vocal performance, revealed at this point, my jaw had not fully hit the floor. Next in a new light by the N1-S38. So low was the noise up was the 24/192 version of Cat Stevens’ Tea For floor I could now hear how her words were formed The Tillerman, which left me catching flies for sever- and appreciate the pauses between them. Comal seconds. Deep down, I would describe myself as a paring the Qobuz stream of Hejira to the version I fully committed digital guy who feels that the most had copied to the N1-S38’s SSD initially confused involving reproduction comes from analogue sourc- me, as it sounded slightly less spacious and open. I es. Listening to the N1 playing Tea For The Tillerman then realised my stored version was in 24/96, which had me doubting this last point; so captivating was explained things, but I was still impressed that the the performance it delivered. My notes say things ‘cloud streamed’ version sounded better, demonlike ‘vocal detail’, ‘realistic instrumental timbre’, ‘dy- strating the N1-S38’s abilities when streaming from namic range’ etc., but this sounded like wonderful external services. Until a few months ago, it may music. have been worth mentioning that this machine does not decode Tidal MQA files, but I feel that this You will often read reviewers raving about how great is no longer so relevant as Tidal is slowly dropping the timing is of a given product, but the N1-S38 the format. Song For Sharon, from the same album, floored me with how it revealed how singers such received repeated listens. Here the timing qualities as Joni Mitchell and PJ Harvey play around how they of the N1 revealed a ‘gallop’ to the drum patterns time certain phrases. Playing the latest album from that had gone unnoticed during my previous listens the latter, I Inside The Old I Dying (24/96 Qobuz via lesser transports. A phrase from Melco’s Andy download), you can hear Polly singing on and off the Moore sprung to mind whilst listening to Hejira – beat, particularly on the album’s first track, Prayer ‘This is how good digital music can sound when the At The Gate. This album is not what you would clas- data is delivered with clean edges’. sify as an Audiophile production, but via the N1, it became a musically compelling one. Into The Labyrinth by Dead Can Dance is one of the albums I use as a reference piece. All versions I had previously found my own Melco unit, whilst sound great, but the MoFi SACD rip is possibly the sounding more detailed via USB, especially since best digital version. The album showcases a system’s I began using the CAD USB-11R, generally sounds sound staging capabilities and ability to produce a
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realistic portrayal of a recorded acoustic. The N1 got full marks for both attributes, which I had taken for granted would be the case. What particularly impressed me was the extra bite and texture it gave to the analogue synths and how it removed the last traces of, for want of a better word, ‘digitalness’ from the percussion instruments.
CONCLUSION Every well-known track I have played via the N1-S38 sounded cleaner, more natural and with significantly improved timing than via my older Melco unit. A highlight for me is the extra realism and intimacy the N1-S38 brings to vocals and the enhanced musical expression, particularly from instrumental solos. I have experienced more of those ‘goosebump’ moments whilst listening to my system with the N1 at the helm than ever before. People often refer to their DACs as being their system’s front end. Whilst a great DAC will strongly influence a system’s tonal quality and general presentation, a low-noise digital
transport, such as the N1-S38, has a more fundamental effect on how the music is portrayed. It is a significant investment with a price tag of neigh on £12k, but I would make it without hesitation if funds allowed. I cannot imagine a better-sounding digital transport than the Melco N1-S38.
AT A GLANCE Build Quality: Beyond criticism, it certainly feels like the range-topper that it is The design is also a big step up over both the previous generation and lower-priced machines in the range Sound Quality: The N1-S38 makes music sound better and holds the listener’s attention better than any digital source I
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have previously experienced It has brought my system up to a level I had previously believed was only possible with the best analogue sources Highlights are the machine’s musical timing qualities and the way allows the partnering DAC to present vocals Value For Money: It is expensive, but the best components always are We Loved: This new range-topper from Melco is fabulously built, and it looks great. It delivers a clean, detailed, and involving sound that enhances your connection to the music It is compatible with most equipment, and Melco periodically upgrades the operating system
Pre-installed Songkong makes music tagging a doddle; many will appreciate that it is fully compatible with Roon. We Did’t Love So Much The price of entry means that not everyone can enjoy its charms Some alternatives are perhaps simpler for inexperienced users to operate Elevator Pitch Review: A Musically stunning flagship machine, the Melco N1-S38 is a top-class source. In the manner of the best turntables, it gives your system the best delivery of musical information. If you already have a great digital system and can afford it, you owe it to yourself to try the Melco N1-S38. Price: £11,995.00
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DECO AUDIO TRANSFER DAC Deco Audio Transfer DAC is a £549 Digital to Analogue Converter using valves for the outAll their products follow a similar philosophy and for the audio signal path they use simple valve circuits (no transistors or FETs), no global put stage with no FETS feedback, linear power supplies and pure class A circuitry. and no transistors. The They do measure their products during development, but focus on the emotional connection we have with music; this is their priority. I like DAC is made in the Unitthis philosophy, so many products are out there that measure incredibly well but there are some that are just lifeless and soulless in my ed Kingdom and in this opinion, so it’s nice to see a company doing things differently. review, Oscar Stewart The Transfer DAC is their latest release and promises to give you a closer connection to the music you’re listening to, by using a non-overtries it out for HiFi PiG. sampling R2R TDA1543 DAC chip and all-valve output stage. Deco Audio are a retailer based in Aylesbury, Buckinghamshire however, they have also taken the plunge into manufacturing their own range of products to complement their range from other brands. The company undertakes repairs of audio electronics and realised there was a need in the market for high-performance audio products at reasonable prices.https://www.hifipig.com/deco-audio-tranfer-dac/
BUILD QUALITY AND FEATURES OF THE DECO AUDIO TRANSFER DAC The Transfer uses a simple aluminium main chassis which is both lightweight and strong, it also acts as a heatsink for the internal components. The front is embellished with a shiny black acrylic faceplate and a clear window showing off the valves inside (with orange LED to make them more easily visible). On the back of the DAC you have all the inputs, 4 Coaxial, 1 optical s/pdif, and 1 USB. There is a single pair of RCA outputs and the A/K switch. Power-wise, the Transfer has an internal Toroidal transformer and a standard IEC socket on the back. Deco Audio have made the Transfer very versatile in terms of the systems it slots into. They have fitted a switch on the back of the unit
Reviewed by Oscar Stewart
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that switches between Anode follower and Cathode follower. Anode follower is best for downstream components that have an input impedance of 47kOhms and above, whilst the Cathode follower is best for components with an input impedance of under 47kOhms. There’s often an impedance mismatch when fitting certain valve-based products into the signal chain, but Deco Audio has found a way around this, meaning the Transfer DAC should easily slot into most systems without issue.
Deco believes that, within reason, how you process the digital audio signal is far more important than numbers on a data sheet. This led them to using the simple TDA1543 R2R (ladder resistor) DAC chip and running it without oversampling or upsampling. This does mean you are limited to 16-bits and 96kHz via S/PDIF or 48kHz via USB, but from my experiences with digital audio so far, I cannot say I have heard credible evidence that “high-res” audio makes any audible difference over 16/44.1 - YMMV! This DAC was very easy to set up and doesn’t seem to need a lot of time to warm up like some valve equipment. It also doesn’t seem to run very hot; the top gets mildly warm but it is still best to avoid placing any equipment directly on top of it. Also, for those of you like me who enjoy valve rolling, the Transfer has socketed ECC82 and ECC83 valves so they are super easy to swap out to something different, which will, of course, change the flavour of sound. I’m hoping to have a tinker soon with some other valves if I can, to see what these can bring to the table.
SOUND QUALITY I’ve been using the Deco Audio Transfer in my main system that uses a passive pre-amp (10k pot) into a Rotel RB-1050 then using QED XT25 cable into a pair of Bowers & Wilkins CM8 speakers. My main DAC is the JDS Labs Atom DAC+ which is a budget DAC, but one that is very clean and linear. Due to my system, Cathode follower mode is recommended. I tested both modes and Anode follower sounded just fine, but was lower in volume (due to the impedance mismatch). For testing purposes, I hooked both DACs up to my Gigabyte mini-PC running Roon Rock – this allowed me to group them and A/B back-toback.
To start with I thought I would try one of my usual test tracks, Trains by Porcupine Tree, and to be honest, if you were expecting the warm, lush, and laid-back sound of valves then this might not be the right DAC for you. Don’t worry though, the Transfer is not boring and there is a slight hint of added body to the sound that is highly addictive. The lower bass region makes kick drums sound a little more impactful, but without added bloat, they come across more realistic and natural whereas my reference DAC sounds a little tighter and more controlled down low. The soundstage is a little wider when using the Deco Audio Transfer and the sound seems to fill the space more easily but without losing focus. The treble is still wonderfully crisp, but it does sound as if the sharper edges of certain notes are just toned down a tiny bit when compared to a more flat-sounding delta/sigma DAC.
Evanescence – Lithium sounded beautiful through the Transfer DAC. The initial piano intro was tonally more enjoyable than the more clinical JDS Labs Atom DAC+. Vocals, whilst not changed massively tonally, seemed to tighten up within the soundstage having more accurate placement and better presence. This allowed for more space within the soundstage, giving it an airy but well-defined presentation. Chocolate Chip Trip by Tool is essentially one big long drum solo, but it is incredibly well mastered and the use of stereo imaging is fantastic. The Transfer DAC once again shows a little more impact, but also a deeper and wider image than my reference. Polyphia – Playing God really tests the composure of a system and suffice it to say the Deco Transfer managed to keep a tight grip of the track with excellent layering, and subtle details were not lost or veiled. There is a great sense of depth to this track and the JDS Labs sounded overall more controlled and cleaner. However, the Transfer was more articulate and expressive in its presentation. Detail-wise there really isn’t anything in it between the two, it is more of a difference in the way the sound is delivered rather than a technical advantage. I have also been using the Transfer DAC paired with the iFi NEO Stream via Coaxial, along with using my Marantz CD-52 via Coaxial. Both devices benefit from the quality of the Deco Audio Transfer. The iFi sounds very natural paired with the Transfer and
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brings music up to a level where there is plenty of detail, yet it’s presented in a very natural way. The internal analogue output of the NEO Stream is already good at this, but the Transfer takes it a step further.
The sound of the Marantz CD-52 with its bitstream conversion is super smooth, perhaps a tiny bit veiled, but the Transfer (luckily) doesn’t suddenly make this warm vintage CD player sound like a modern linear one. It extracts a hint more detail from the sound, which is a benefit, but it retains that smidgen of smoothness that is highly enjoyable in a subjective way. Playing Anathema – A Simple Mistake, the Marantz/ Deco has a sense of effortless flow and the vocals are extremely well placed within the mix. It doesn’t sound as smooth as the Marantz via analogue outputs, but there is more space and resolution which is a welcome addition. I’m impressed at the way the Deco Transfer manages to be a clean and detailed-sounding DAC without compromising on its core design principle, to bring you closer to the music in an emotional sense. For those who chase numbers on paper, this really isn’t the DAC for you, but for those of us who just want to sit back and enjoy the music, this really does bring a lot to the table.
QUIBBLES Personally, I prefer the natural glow of valves, so the internal LED is a little too much for my tastes, and that acrylic front plate does scratch very easily. Aside from that, I don’t really have any issues with this DAC.
and Cathode follower means this will slot into most systems with ease. If you want a DAC that’s very easy to listen to, looks great and won’t cost you the earth, you can’t go far wrong with the Transfer – as long as you’re not a high-res audio fanatic.
AT A GLANCE Build Quality And Features: Solid build with a metal chassis and acrylic front panel The input switch and all the plugs on the back are solid Sound Quality: This is a fatigue-free and wide-sounding DAC with a hint of tube warmth It has very good detail retrieval and control yet presents the sound in a very natural way Value For Money: Built in the UK with good quality components, this is exceptional value for a valve output-based, non-oversampling, R2R chip DAC We Loved: The sound and the aesthetics, it was also very easy to setup We Didn’t Love So Much:
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The orange LED is a little too much, I like to see the natural glow of the valves.
Deco Audio have a great philosophy if you want to enjoy the music and the Transfer DAC is an excellent example of this. It is not for those who strive for absolute neutrality, yet it also doesn’t veer into the overly warm and thick sound of some valve-based equipment. It straddles the line between being clean and being natural very well and is an absolute joy to listen to in a subjective way.
Elevator Pitch Review: Looking for a well-built, natural-sounding DAC that is a little different to all the Delta/Sigma models out there, well the Transfer might be right up your street. Offering up a fatigue-free sound in a lovely-looking package with a versatile valve output stage, the Transfer is a superb DAC for the price – and it’s hand-built in the UK.
The fact you can change between Anode follower
Price: £549
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EVERSOLO DMP-A8 Eversolo DMP-A8 is a fully featured DAC, Streamer and Preamplfier all-in-one box of This promises to be the main hub for all your sources whilst still having a strong focus on sound quality above all else. tricks that costs less BUILD QUALITY AND FEATURES OF than £2000. In this first official UK review, OsTHE EVERSOLO DMP-A8 car Stewart takes a The DMP-A8 follows a similar styling to the A6, with an aluminium housing that has fins on the side for aesthetics as well as heat manlisten for HiFi PiG. agement. The front panel has a nice big touchscreen on it, along with Earlier this year I reviewed the Eversolo DMP-A6, a streamer/DAC that has become incredibly popular and one that provides excellent features and sound quality for a reasonable price. Eversolo has been busy behind the scenes and recently introduced the DMP-A8, this sits at a slightly higher price bracket and comes with a few distinct features that look to impress.
a multifunction knob that has a glowing white LED ring around it. The touchscreen allows you to control the device, but there is also an accompanying app that allows you to change settings too.
On the back is where things get a little different, first off, the A8 is quite a bit wider than the A6, secondly, you’ll notice this one accepts analogue inputs as well as having a plethora of digital inputs and outputs. The A8 comes with a remote in the box allowing you to use this as a DAC, Pre-Amp, Streamer, and media player all in one unit. It has a single pair of RCA analogue inputs and a single pair of XLR balanced inputs, and the same goes for analogue outputs. Digital inputs consist of 2 optical, 2 coaxial, USB, HDMI ARC (supports eARC) and Bluetooth. There are also digital outputs for hooking this up to an external DAC, these include optical, coaxial, USB and HDMI IIS. There is also a trigger output allowing you to turn other equipment on/off at the same time. There’s an additional USB input that supports external storage, allowing you to use the DMP-A8 as a media player for audio files. On the bottom you will find a plate that can be unscrewed, under the plate there’s space for an M.2 NVMe SSD slot for increasing the internal storage (up to 4TB), once again for storing local music files. There are 3
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antennas, 2 for WiFi, one for Bluetooth, and a single gigabit ethernet port. The power supply is split into two stages, one is linear for the analogue audio circuits and the second is a high-quality switching power supply for the system power.
Internally you get higher support over USB (up to 768KHz/32Bit) and native DSD512 support, and 192KHz/24Bit over Coaxial/Optical. The DAC section consists of separate AKM4499EX / AK4191EQ chips and Eversolo employ dual femtosecond high-precision clocks for the audio decoding circuit. Bluetooth support is excellent with support for SBC/AAC/aptX/ aptX LL/aptX HD and LDAC. Earlier I mentioned the DMP-A8 has analogue inputs, well this is excellent news for people like me who like to hook their turntable (with phonostage) up to a central hub and, the DMP-A8 keeps analogue sources in the analogue domain. It features a fully balanced analogue input circuit which also includes +10dB gain should you need it. The analogue audio circuits then pass to another excellent bit of this device, the R2R volume control which uses precision resistors and relays for accurate channel balance across the range and, low noise. I love R2R volume controls, they are brilliantly accurate and the clicky sound is cool, but I know some people don’t like the noise. Back to the digital domain. The DMP-A8 features a powerful DSP engine for digital audio signals (it can be applied to sample rates up to PCM 192KHz). The DSP allows you to control the DSP volume, a fully featured parametric EQ, FIR filter, HPF/LPF, Loudness enhancement, compressor and finally delay. One of the handy things about the EQ on the A8 is that it can be applied to certain inputs, so you can choose which specific inputs you would like it applied to. It may not have room-perfect modes or a way of measuring your room, however, the FIR Filter is a way of improving the sound in your room but it does require you to hook up a PC/laptop with REW and measurement microphone to the DMP-A8. This requires some time to do but could be a very handy feature for those looking to flatten the sound of their speakers in a less-than-ideal setup. Make no mistake, the DSP of this device is powerful and flexible and will help you get the best out of your system if you take some time to figure out where your system needs adjusting. Equally, you can bypass the
DSP section and just have a clean and neutral sound from the DMP-A8.
Streaming wise the DMP-A8 supports most of the main platforms (Tidal, Qobuz, Deezer, HIRESAUDIO, Radio Paradise, Amazon and Apple Music) - note that Roon is currently missing, but this is hopefully being resolved using Roon certification coming soon. It’s a bit of a shame it didn’t ship with Roon certification as you are limited to AirPlay quality currently when using it with Roon – this should be fixed soon though. There is also an internal music library that can read files off a USB stick or from a location on the network, so you can have it read from a NAS if you like, and the internal player works very well from the app. Like the DMP-A6, you can hook up an external optical disc to read and rip CDs directly to a location of your choice. Finally, the screen can be set up with different skins and there are various VU meters and spectrum displays for your visual pleasure whilst listening to music. Both the VU meters and spectrum analysers are responsive and do look great whilst music is playing. If you don’t want those though, you can just display the track/artist/album artwork or turn the display off from the remote. One slight annoyance I found was that the screen comes back on and stays on when changing the volume - I would have liked to see the screen either stay off or return to being off once the desired volume level has been achieved.
SOUND QUALITY I’ve been putting the DMP-A8 through its paces as a streamer, DAC and pre-amp – it’s been used with my TV, used as a Roon endpoint, played back local files, and I have hooked up my phono pre-amp to it to test the analogue input and use it as a pre-amp into my power amp. First off, the app is excellent for controlling the A8, it allows you to access all the necessary features and more, along with allowing you to playback local tracks or those that are stored on a device on your network. I’ll start with this and I managed to connect it to the SSD that is attached via USB to my mini-PC running Roon Rock – this allowed me to playback those files directly instead of playing them back via Roon. Playing back local files worked well, Evanescence –
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Fallen has recently enjoyed its 20th anniversary and it’s a superb album, one that comes through with both impeccable detail and at the same time, excellent dynamics via the DMP-A8. Amy Lee’s vocals cut through with presence, yet it is the tonality here that grabs your attention, this has a natural sound that is unforced. It does sound different to the slightly more analytical DMP-A6, the DMP-A8 has a slightly more relaxed and overall spacious sound in comparison. It is a grown-up version of it is more budget sibling, yet it manages to have more resolution, digging deeper into the finer details of the tracks without sounding fatiguing or trying to draw your attention to it. Streaming via Roon is sadly limited until this is properly Roon certified but, I did stream via Roon quite a bit and didn’t notice any real sound impact from it using AirPlay. The DMP-A8 still has a familiar house sound, whilst it is a little more natural and spacious, it is still a very clean and crisp sound that comes across as nuanced and balanced. Machine Head – Halo came on and, with the DMP-A8 acting as a streamer you could easily separate every instrument in the mix, whilst it accurately placed them within a slightly larger than average soundstage. Kick drums hit with real impact, the bass guitar line is well articulated and full, and the vocals and guitars are layered with great separation and treble extending with excellent clarity and shimmer. Using my TV via eARC was simple! To me, it was
plug-and-play and allowed me to enjoy TV audio through my usual 2ch setup. This is something I feel more and more people are doing, and I for one, am happy to see this being featured in more products. It’s not something you can judge the quality on much, but watching films and series was a joy with the DMP-A8 acting as a DAC/Pre-amp into my 2ch power amp. The volume control is excellent! The ladder resistor-based circuit clicks with every increment yet the main things it brings to the table are low noise and perfect channel balance at all volumes. The screen is also lovely, allowing you to choose between different skins for the track details / VU meters / Spectrum analyser displays. Using this as a pre-amp between my Rega Planar 3 50th Anniversary Turntable > Classic Audio Ltd Spartan 5 phono pre-amp and my Rotel power amp, the Eversolo didn’t exhibit any noticeable colouration in the sound path. The analogue input allows fine volume control without affecting the quality of the original signal, it can even give you a nice 10dB of gain should you need it for weak input sources. I decided to listen to The Cure’s album Disintegration on vinyl and played back one of the songs via streaming afterwards. Streaming from Qobuz and utilising the internal DAC did have a slightly drier and more controlled presentation vs vinyl, however, it is interesting to note that streaming wasn’t necessarily better and that this was more of a preference
in presentation over anything more technical.
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have a firm focus on producing excellent sound.
In all its functions, not once did I ever feel like it was imparting any unwanted colouration on the music. Everything comes across as clean, yet it’s not as dry or analytical as some DACs out there. In my opinion, there is a spectrum of neutral that most modern DACs adhere to and this one falls into the neutral/ natural category much like the slightly smoother iFi NEO Stream. For example, Portishead’s Western Eyes has a lovely piano part playing throughout the track with a driving bassline underneath and the DMP-A8 really excelled at bringing out a more rounded and less brittle sound, easily distinguishable during piano sections. QUIBBLES
AT A GLANCE
When using it with my TV and the screen is off, if you adjust the volume the screen comes on and doesn’t automatically go off again, you have to manually press the button on the remote to get the screen to turn off. This kind of ruins using the TV remote to adjust the volume as you must have the Eversolo remote handy to turn the screen off again.
Natural, spacious, and detailed
No proper Roon certification yet, however, this will come with future updates, I’m sure.
We Loved:
CONCLUSION I have really enjoyed my time with the DMP-A8, it’s a clear step up from the brilliant DMP-A6 and brings some excellent additional features to the table. The sound is open, spacious, and detailed and it doesn’t seem to add, or take away, anything from the music. The DAC section is fantastic with a slightly more natural tonality over the cheaper A6 and, the analogue inputs are a much-welcomed feature for people like me who enjoy a central hub for all sources (including ARC/eARC for TVs). Functionality it is incredibly versatile with the ability to playback from internal files, streaming, and Bluetooth along with plenty of tweaks in the settings for digital filters and more. There is a powerful DSP engine in the DMP-A8 which can help you get the best out of your system if you dedicate the time to figuring out where your setup needs help. Overall, it is a fantastic DAC/Streamer/Pre-amp/music player you name it… Eversolo has done a great job at making flexible and versatile devices that still
Build Quality And Features: Lovely aluminium casing and sharp touchscreen on the front Huge array of inputs and outputs on the back DAC/Pre-amp/Streamer with DSP functionality and much more Sound Quality:
Value For Money: Not cheap, but also not expensive, it represents good value for those who want this level of versatility
The functionality Superb build quality Brilliant sound to match We Didn’t Love So Much: The screen coming on when adjusting the volume Lack of Roon certification (yet) Elevator Pitch Review: The Eversolo DMP-A8 builds on the success of the DMP-A6, this time adding in analogue inputs so it can be used as a pre-amp and a R2R ladder resistor volume control system for perfect channel balance. It’s a hugely versatile hub that can sit at the heart of your system acting as a preamp, DAC, streamer and DSP engine to feed either an integrated or power amplifier. It even has digital outputs should you wish to pair it with a higher end DAC and benefit from a lovely interface and screen at the heart of your system. Price: £1890
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VIOLECTRIC DHA V226 HEADPHONE AMP AND DAC
Violectric’s DHA V226 is a £1230 balanced headphone amplifier and DAC. In this review for HiFi PiG, Oscar Stewart A long time ago I spent some time with the legendary Violectric V281, and that product left a lasting impression, let us see if the DHA V226 gives it a whirl. can do the same. Violectric is the sister company of Lake People, Lake People products are geared more towards the pro-audio industry and so Violectric was created to make specialist products for the HiFi market. Made in Germany, Violectric quickly established a name in the industry for making extremely well-built products with fantastic sound to back them up. Fried Reim is the architect behind the products and makes devices that are driven by real-world advances in electronics design, not marketing promises.
BUILD QUALITY AND FEATURES OF THE VIOLECTRIC DHA V226 The Violectric DHA V226 might not be a model name that rolls off the tip of your tongue, however, it is a product that you will appreciate as soon as you take it out of its box. It’s not huge, but it does have some weight to it. The casing is aluminium as far as I can tell and is finished to an incredibly high standard. The volume knob on the front is stepped and lovely to use, there are 2 switches on the front for the input/output, a power button, and the headphone outputs (4-pin XLR / 4.4mm balanced and 6.3mm single-ended). On the rear, you have the USB-C input to use the internal DAC, 2 pairs of analogue RCA inputs (with adjustable pre-gain) and a pair of RCA analogue outputs so you can use the DHA V226 as a pre-amplifier. There are 4 large aluminium feet on the bottom of the amp to keep it stable on your desk, it is an incredibly well-put-together DAC/amp and Violectric products are built to last. Feature-wise the DHA V226 has both analogue and digital inputs (albeit only USB-C), allowing it to be used as a headphone amp only, or you can use the built-in DAC which is full 32-bit/384kHz PCM – DSD 64/256 compatible. The analogue inputs have adjustable +/- 18dB of pre-gain allowing for the perfect match between source and headphones. It
Reviewed by Oscar Stewart
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also features delayed coupling of the headphone amp section to avoid power on/off pops or surges. The amp section can pump out 3500mw into 100Ohms and 23V RMS into 600Ohms, making it an incredible match with both low-impedance planars alongside high-impedance dynamic headphones. One thing to note is that the DHA V226 doesn’t get very hot in use, the casing barely got warm which is very good.
SOUND QUALITY To give the DHA V226 a proper initial test I decided to see if I could hear a difference between the internal DAC and the SMSL D6s – which is an objectively clean and neutral DAC. My headphone of choice for this was the HiFiMAN Susvara and, I’ll be honest, I couldn’t hear any real difference between the two. This to me is great news, it means the internal DAC of the V226 is audibly transparent and I could continue listening without worrying the internal DAC was the weak point. So, with the Susvara out I got down to business listening to some of my library via my PC, which is running Roon, playing local files along with streaming from Qobuz. The DHA V226, in my opinion, does a very respectable job at driving the incredibly difficult load of the Susvaras – they sound snappy and dynamic (as they should when powered properly) with fullness when required. The Violectric comes across as very effortless yet is also easy to listen to, there is a hint of warmth but nothing that makes the Susvara sound too thick. For example, The Devil Wears Prada – Nora requires a fast headphone to keep up with the mix of double kicks and electronic bass beat in the chorus, something this combo manages to do with ease. This is a clean-sounding amplifier, the lows never sound overblown but have plenty of presence when called for, the midrange is accurate without sounding dry and the treble is crisp and resolving. The soundstaging of the Susvara is one of its strengths and the Violectric was not holding them back in that area, throwing out a very wide and deep soundstage with ease. Blink-182 – One More Time is a hard-hitting acoustic pop-punk song that is delivered with a whole heap of emotion, the DHA V226 delivering every nuance via the Susvara in the most natural way possible.
I decided to test this DAC/Amp with the Meze 109 Pro next, a much easier-to-drive headphone. Suffice it to say, the DHA V226 had no issues with powering these and the background was still extremely quiet with no hiss or noise present at all. These headphones really do scale up with a nice source, the sound was very smooth and enjoyable and the treble was not as sharp as it can be with some other amps. Sleep Token – Aqua Regia sounds stunning through this combo with excellent extension, control, and detail. The sound flows around the stage with pinpoint precision, however, it’s never clinical in its presentation. The Beyerdynamic DT880 600Ohm headphones are a bit of a classic and their high impedance load leads them to sounding their absolute best out of a good desktop amp. The DHA V226 had no issues driving these headphones, the Violectric once again showing that it can drive most headphones out there with ease. The same qualities shine through these too, being exceptionally clean but without unwanted brightness. I played Lights – Up We Go (Acoustic) through this combo and you can hear every fingertip across the guitar strings, her vocals presented without unwanted colouring, the sound is crisp and open and lower bass notes are full yet presented in a controlled manner. With the DT880, the DHA V226 could easily be used as a pro-audio tool in a studio, it is incredibly clean and doesn’t smooth over the finer details. This is a combo that’s enjoyable to listen to whilst being a reference sounding system too, no matter how complex the recording is, this pairing easily separates each part of the mix. The above applied to pretty much any headphones I tested with the DHA V226, Grado’s, Sennheiser’s, were all powered with ease and the sound had a sense of drive that was very enjoyable. Never once did the DHA V226 sound like it was trying to influence what you were hearing, it straddles that line of being clean and detailed, but having a little soul to the sound – something some amps I have tried fail to do.
QUIBBLES I will be honest; I have zero quibbles with this DAC/ Amp – I plugged it in and it worked.
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CONCLUSION To me, the Violectric DHA V226 is a fit-and-forget DAC/Amp that just gets on and does what it needs to do without drawing attention to itself. There’s a solidness to its build quality, and a simplicity to its construction, which means you spend less time tinkering and more time just listening. There are no DAC filters to get lost in, no screen, just mechanical buttons, switches, and a lovely volume knob to do what it is there to do.
ing finer details Value For Money: This is very good value for money, the output power combined with an audibly transparent DAC means you get everything you need from one box. It’s extremely versatile and powers most headphones on the market with ease We Loved:
The internal DAC is, to me, audibly transparent and you can hook up an external DAC should you wish, but it’s the headphone amp section though is where this really shines. It is a powerhouse that drives most headphones with ease and is backed up with a clean and crisp sound that isn’t cold and analytical, yet it never smooths over the finer details either.
The way it effortlessly drives most headphones
AT A GLANCE
Elevator Pitch Review: Don’t want to get lost in a DAC/Amp that has too many features hidden in menus? What about needing a headphone amp that can easily drive your collection without sounding lifeless and boring? Well, the DHA V226 is just that, it’s simple and solid yet gets on and does what it’s designed to do without fuss. This is solid German engineering at its best, with enough features to be functional without being confusing, backed up with a powerful and dynamic sound signature.
Build Quality And Features: Simple to use and solidly built USB-C and Analogue inputs/outputs 4.4mm/4-pin XLR and 6.3mm Headphone outputs Sound Quality: Clear, detailed, and open without sounding bright Effortless power with a hint of warmth/soul Very enjoyable and easy to listen to without mask-
Reference sound without sounding cold and lifeless We Didn’t Love So Much: I honestly cannot fault this DAC/Amp
This DAC/Amp does a wonderful job of delivering effortless sound to your headphones of choice – something that I appreciated greatly during my time with it. Price: £1230
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TITAN AUDIO ARES MAINS BLOCK At 400 GBP, the new Ares mains distribution block sits right between the former entry-level model Styx and the current Eros in North Irish manufacturer Titan Audio´s portfolio. It´s available in UK, US, and Euro versions - I tried the latter in my system, feeding four monoblock tube amplifiers, a preamp, and a very high-end phono stage from its six outlets on a system comprising very high-efficiency speakers.
Eric van Spelde takes a listen to the £400 Titan Audio Ares mains block.
Although Titan Audio´s range has diversified into different areas of cabling over the years, its focus has always been firmly put on mains products, regarding mains technology as the origin point of all systems. Their philosophy is to not just use slightly better materials than standard and hope the prospective customer will notice a difference – or simply believe there is one - but to make design choices based on in-depth research on managing mains interference, helped by leading sound engineers and research institutes. In particular, Titan Audio works with Belfast´s Queen´s University and Northern Island Science Park, digging into all the factors degrading the juice coming out of our home sockets, which we use to power our HiFi systems. Despite their very reasonable price tags compared to some other options, the products are all bespoke and not some re-labeled or slightly adapted OEM products; all are hand-made by a team of highly trained technicians in Northern Ireland and come with a 30-day return option and a lifetime guarantee.
NO NONSENSE WITH COOL FACTOR Although the company understandably remains pretty much silent about the results of that research and how they are implemented into the products, there´s something refreshing about Titan Audio´s no-nonsense approach to mains conditioning. What you get is a sixway power distribution block hard-wired with the same single-crystal copper cable as seen at the higher end of Titan´s power cable range (there are currently three different levels, each consisting of a cable for low-current, high-noise susceptibility components like preamps, DACs, and phono stages, and one for high current applications such as integrated or power amps and complete systems), an IEC inlet at
Reviewed by Eric van Spelde
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REVIEW the back, making for easy upgradability by way of a HERE COMES THE BASS! higher end power lead from wall socket to distribution block – all in a compact, sturdy housing comprising two rows of three Euro (Schuko) sockets with gold-plated contacts. Compactness is one aspect of the Ares´ design, the actual block being slightly tilted forwards on 10 mm acrylic supports on both ends for resonance control (the screws with which they are attached to the block are specially chosen for this purpose and torqued to a specific level) that lift the unit a couple of inches from the floor, another. A silver-on-black Union Jack-inspired graphic on the acrylic end supports gives a whiff of Cool Britannia – not unlike the rear lights on a current Mini.
POWER SWITCH Sby a small orchestra. Hardly a new idea, but it’s a The form factor of this six-way distribution block makes the Ares very easy to place and install behind one´s audio equipment, which is a boon to us reviewers – particularly one working within tight confines like yours truly! But that´s not all – our review example had an on-off switch placed behind a flip-up lid for the full 007/jet fighter pilot effect. This, in principle, was A Very Good Thing to me (and hardly ever seen on ´serious´ HiFi mains distribution units) in this particular case, as it saved me from reaching for the individual switches on the back of four awkwardly placed monoblock power amps. I feared that switching four amps (plus the phono stage and line preamp) on all at once would blow the living room group´s main fuse, but thankfully that didn´t materialize. Which was good. Unfortunately, the number and lengths of the available power cords and the location of the nearest wall outlet meant that the power distributor needed to sit behind the sofa… Of course, none of that is the Ares´ fault – being given the choice of having a single power switch for all of the items connected to the power distributor on a quality unit that is specifically designed for high-performance audio, is a rare but decidedly welcome convenience, even if it might diminish outright performance by a minimal number of percentage points. In my case, having a single power switch in a rather more convenient location than behind the sofa would mean that we´d use the ´big´ system with the four single-ended triode amps driving Avantgarde horns in full active mode (´dedicated SET´) rather more often. To some extent, this proved to be the case even with the power switch hidden behind the sofa…
A propos performance – despite its modest price tag and not being an obviously ´luxury´ item in terms of materials compared to some more expensive options, this thing is anything but a slouch, at any price. The first thing I noticed is that it got rid of a permanent hiss from the high-frequency amps/drivers that before, had been very noticeable when standing in front of the speakers – especially from the turntable rig. Obviously, this alone dropped the noise floor in the mid and high frequencies rather significantly, as well as removing a source of annoyance whenever no music was playing… The second thing that – almost literally – struck me was the bass, which came stronger to the point that I had to dial it back a bit on the Avantgardes´ internal low-frequency amps/DSP units, cleaner and more tuneful. With the early techno classic LFO (by, erm, LFO) not only the point where the bass first dropped a further octave became a laugh-out-loud experience – the neighbours might not have found it as funny, though – the more impressive feat was that there were no signs of dynamic compression when later in the track, those deepest tones came simultaneously with the actual bassline and the airy/bleepy synths which remained crystal clear and kept their place and ´size´ in the soundstage relative to the other elements; indicating that the power distribution block did not pose any restriction in current delivery – at least not in my configuration. And while the overall drop of the noise floor, with the corresponding gains in detail and naturalness of the sound reproduction might not have been quite as profound as when using some of the ultra-expensive and elaborate means of mains conditioning out there that can easily run into five figures – going from a standard-issue, Media Mart type of mains distribution block I would say it´s close to 90 percent of the way there on a seriously high-end system in what I would say are typical domestic conditions – normal living room rather than dedicated listening space, no separate mains spur for audiovisual equipment, ´audiophile´ circuit breakers et al and a variety of audiophile grade power cords being used, the overwhelming majority being in the low three figure price range rather than four figures or more. As such, at a more than reasonable 400 quid, the Ares makes a seriously compelling case for itself.
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It gives a far larger slice of the potential benefits of mains conditioning as its price tag would suggest to the point that in the vast majority of systems and surroundings, I don´t think you´d end up wanting or needing anything more; it´s robust, easy to use and versatile. From here, Titan Audio would suggest upgrading the power cord from wall outlet to power distributor first and I would tend to agree.
AT A GLANCE Build Quality and Features: Compact, well built without being excessive in materials usage, the unit being slightly tilted forwards on thick acrylic end pieces which lift the unit off the floor and provide a measure of resonance control is a rather nice touch The packaging is attractive and also nicely compact Sound quality: The Ares did an excellent job of cutting noise from my system´s power supply which resulted in drastically reduced hiss, and a very noticeable lowering of the sound floor Also, it proved far less of a bottleneck to current flow than other affordable mains distribution solutions which was very noticeable in the bass registers Value for money:
Damn near off the scale at 400 quid We loved: The compact shape makes it very versatile in placement and it can be lifted off the floor without having to make extra provisions The power switch on our review example! The solid and consistent, and for the price level frankly huge improvement it made in sound quality while also removing hiss that before was irritating when no music was playing on the system We Didn´t Love So Much: Nothing at this price Elevator Pitch Review: The Titan Audio Ares offers six power outlets and an IEC inlet for the mains cable from the wall power outlet in a compact unit, making it versatile and upgradeable. Being hardwired with very high quality, single crystal copper cable and obviously carefully considered in all other aspects relevant to sound quality, it will make a massive improvement on any system running from a standard, or entry-level power distribution block and offers outstanding value for money. Being offered with a 30-day return and lifetime product warranty, it´s a no-risk purchase too. Price: £400 SUPPLIED BY TITAN AUDIO
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BRIJ NEDAN 2.0 PLATFORM BY AUDITE ACOUSTICS With more than 40 years of engineering design and manufacturing experience including issues related to vibrations, you would expect Andrew Szczecinski from Audite Acoustics to know a thing or three about platform isolation. Andrew’s career has included working on projects with clients such as Rolls Royce and the MOD in the design and installation of engineering solutions, some of which were to address specific issues around how to manage and control vibrations in severe situations. As he told me, “This has undoubtedly helped shape how I think about our designs and how we apply certain materials and technology in order to solve problems”. And certainly, the Brij Nedan 2.0 platform, up for review here, does go far to answer the problem of extraneous vibrations ruining the quality of our music. The idea is actually quite simple but ingenious, and one that indeed worked better in practice in my tests than I initially thought it would.
Janine Elliot take a look at the Brij Nedan 2.0 platform by Audite Acoustics that takes a novel approach to isolating your beloved HiFi gear.
HANGER TECHNOLOGY The basic design here is to use a hanging platform, an idea he first developed over three decades ago whilst Andrew was studying Mechanical and Electrical engineering at university. He had sketched out a new way to decouple and isolate audio equipment and, in particular, was looking at ways in which to reduce the area of contact between the equipment and what it was sat on to an absolute minimum, whilst a thre same time maintaining its ability to support heavy equipment. He created a system hanging in tension rather than compression as you would find when using conventional springs or rubber. Whilst he had great ideas on paper, in practice the materials just weren’t yet available. His ideas would have to wait until 2020 when he could work with some new materials that exhibited the characteristics that he had so longed for, and then the following year to make the first prototype. From then on Audite Acoustics was born, presently encompassing three isolation platforms with a fourth currently in development. The Brij Nedan is the top of the range coming in at £645. Although he originally designed the Brij Nedan for turntables Andrew does get a lot of positive feedback (sic) from customers using them on other equipment, and indeed I tested
Reviewed by Janine Elliot
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the unit with a valve amp in my review, since valves do suffer from microphony.
weight of the equipment is evenly distributed across all four edges.
For several decades it has been recognised that special feet or platforms need to be deployed to stop the big enemies of audio; vibration and interferences. Where there have largely been two methods of isolation, one being spikes and the other being suspension, I have always preferred the latter and icons like the late Max Townshend did much to isolate the ground from the audio. However, both spikes and suspension work but in different ways; spikes with their minute contact point tend to work well with mids and top frequencies but don’t isolate the bass end so well, whereas suspension systems are really good with filtering the low frequencies. Andrew’s Brij Nedan combines the two, utilizing ISOL-X technology, a system Andrew Szczecinski had first developed decades ago.
THE X FACTOR
ISOL-X ISOL-X technology is a unique suspension system that is UK-designed and built using local suppliers, whereby the HDF (High-Density Fibreboard) platform hangs in tension. Based on three layers of HDF, the middle layer sits on the table/stand/shelf decoupled using four Sorbothane hemispheres at each corner, and the bottom level is actually hung from it and attached to the very top level on which you place your equipment. Four hangers made from a very strong and flexible material allow the top to move freely on the horizontal plane without touching anything around its sides, top or bottom. This gives it the sense of being a floating platform. The linkages have near zero stretch and at less than 0.5mm diameter are extremely strong for their size. With four of them that equates to a total of just 2mm contact with the real world. Additionally, the floating platter can move around 8mm in any direction in the horizontal plane. They exhibit very good isolation and because they have near zero stretch, their resonant frequency changes very little when equipment up to a very reasonable 35kg is added to the platform. As Andrew says; “Imagine something weighing 35kg being hung from these four strands which added together are less than 1mm in cross-sectional area and you start to understand the true innovation behind the Brij”. Do, however, remember to make sure that the
While some will still be skeptical about adding isolation - since the audio equipment has a certain amount of protection from its own feet - my job was to find out just how good this product would work with my own gear. As I can’t do A/B comparisons easily in this review I chose equipment and records I knew really well. As well as trying out my Townshend Rock 7 (but without the bass-taming trough and paddle) and my Technics direct drive turntable, I also tested it with my Leak Stereo 20 valve amplifier. It should work well with other equipment such as DACs and CD players but on a much smaller amount. The Brij Nedan (called the “Brij” as it is like a bridge and “Nedan” a Swedish word meaning ‘below’, all pertaining to the fact that the real work is underneath the bridge) comes in at 480mm x 370mm x 75mm and is identified by a giant “X” extending over to the edges (and hiding the Sorbothane feet) which easily allows 19” wide gear to be placed on it. Most turntables should fit quite nicely on the unit, and the Brij comes in satin white, or black to fit in with your HiFi décor. My only quibble with the unit was that the Sorbothane feet aren’t stuck on very well, as the unit arrived with one foot unattached and left with a further one ungluing itself. The unit is understandably very fragile, and therefore needs very careful transportation and moving on and off shelves.
THE BIG TEST It is so important to have good isolation when playing your vinyl. The whole idea of the cartridge is to pick up vibrations, so the fewer external vibrations there are the better the result. However, if you are due an earthquake or have a mainline railway at the bottom of your garden, isolation platforms won’t perform miracles. For me, once I began testing, I was surprised at just how well the Brij worked across all frequencies at isolating interference, plus also improving the music. I actually tested the unit at one point on the floor just to see how it could eradicate vibrations from the loudspeakers as well as the fridge and me
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walking around. It worked well. With vinyl I played both very quiet music to listen for interference and loud music to see if the added control from the platform improved the music. The Eagles title track “Long Road Out of Eden” has a variety of moods and dynamics that make a good test starting point. The deep bass at the beginning seemed better controlled and the soundstage was better placed. Instruments were clearly placed and slightly tighter sounding. Turning to the Blues singer Rick Mayall (not the late comedian), “Why Did You Go Last Night?” is not a particularly exciting track (I guess the whole idea of Blues), but the Brij seemed to lift it up a bit, with better control of the organ sounds in particular. I felt there were added dBs to the music. Trying this track again with the Leak Stereo20 valve amp in situ, gave more excitement and a clearer top end. Trying to antagonize the amplifier by tapping on the HiFi shelf didn’t end up through the speakers. This platform was well and truly doing its job. Back to vinyl and Jean Michel Jarre’s ‘Les Chants Musique’ gave me a chance to test out the top frequencies as well as the isolation from external vibrations. Again, that bass end was clearer and so were the highs from this electronica. “Magnetic Fields” even charged up my cat to go berserk in the music room, running all over the room. Something had caught his attention; maybe the extra clarity.
The best album I had to really test out the platform was Katie Melua’s ‘In Winter’ album. This has just about everything I needed; lots of atmosphere, very quiet sections, gentle singing as well as some louder interjections from the instruments. If there was going to be any interference from the passing trains or my fridge-freezer then this album would pick it up. In fact, I found the music much more controlled and spacious. “Plane Song” has a whistling start with guitar and later quiet backing vocals. Everything just seemed so much more precise and gave the music a much better-balanced performance. Any vibrations I tried to provoke just didn’t account for much. I was really trying to be mean, but in the end, I just gave up and simply just listened to the gorgeous music. On to Greetje Kauffeld’s “They Can’t Take That Away from Me” (Gershwin) the music was very laid back and seemed more controlled. This is a beautiful song with guitar, sax, and vocals, and all instruments were positioned well and focused as if there had been fog before and it was now all clear. The bass in “It Might As Well Be Spring” was extended and “tight”. Even the dynamic range seemed lifted a tad. By reducing any interference, the bass was more controlled and there was a greater degree of clarity and detail. If you still think £645 is too much to pay for suspension then Audite Acoustics also offers the
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DUO NIVA from £365 and the OHJATA: from £195, though these platforms operate in different ways.
CONCLUSION
£645 is not a lot to pay for isolating your HiFi from dreaded floor and equipment vibrations We Loved:
£645 might seem a lot to pay for an isolation platform, but the Brij really does improve the music and act as a great isolation from all around. It aided clarity in the bass end whilst preventing interference in bass and top end. If you have any kind of unwanted noise in your house and value your records then it’s worth giving this a listen for silence.
Reduced vibration
AT A GLANCE
Be careful with the sorbothane feet coming loose. Elevator Pitch Review: I have always been interested in vibrations, or rather reducing vibrations, and the Brij Nedan from Audite Acoustics is a really clever way of isolating your HiFi from all that horrible noise around us and from other parts of your HiFi system. I didn’t think it would work as well as it actually turned out, and as it can hold weights up to 35kg it should work particularly well with your turntable and valve amplifier.
Build Quality: Brilliantly designed, but be careful of the sorbothane feet falling off Sound Quality: Noticeably reduced interference and better-controlled bass and tight top end Value For Money:
Bass control Improved clarity We Didn’t Love Do Much:
Price: £645
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EVERSOLO DMP-A6 STREAMING DAC
Eversolo is the sister company to Zidoo, which has been around for a few years now making various audio-visual products. They launched in 2014 and since then have focussed on making consumer electronics products with ARM multi-core processors at their centre. Fast forward to Eversolo and they have decided to dive into the audio world, their range consists of a standalone DAC, Headphone amplifier, a couple of portable dongle DAC/Amps and finally the DMP-A6 Streamer/DAC we have here.
Oscar Stewart takes a listen to the Eversolo DMP-A6 Streaming DAC costing £759.
Eversolo prides itself on producing excellent quality products at reasonable prices, so can the DMP-A6 hold its own in the world of music streamers, or is it just a jack of all trades and master of none?
FEATURES AND BUILD OF THE EVERSOLO DMP-A6 So where do we start? The DMP-A6 has so many features it’s easy to get lost in them, but when setup you’ll find yourself using probably only a fraction of them. First up we have the streamer side of things. The DMP-A6 accepts wired Ethernet or Wi-Fi to connect to the internet and once connected many devices will see it on the network and you will be able to start streaming straight to it. Personally, I use Roon as I have a core that has a mix of CD rips and Qobuz streaming and Roon found the DMP-A6 very easily and the whole connecting process was very straightforward. The Eversolo runs on Android, and the firmware receives frequent updates. Running on Android allows you to sideload apps (apk files) onto the device, the front screen might not be huge but it is functional and easy to navigate around apps. There is a dedicated Eversolo app which allows you to control most of the features of the streamer. For example, in the settings, you have the different DAC filters, fixed or variable volume, brightness of the display, knob lighting and much more. The DMP-A6 also has a slot for an M.2
Reviewed by Oscar Stewart
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SSD for loading your own music onto, along with USB ports for attaching external storage, allowing it to become a central playback unit.
that the DMP-A6 is not the speediest of streamers when using locally stored files, and sometimes the album artwork takes a while to load.
The DMP-A6 features 2 x ESS 9038Q2M DAC chips inside, one for each channel, allowing for better separation, better signal-to-noise ratio, and increased dynamic range. The internal streamed signal goes through these, as do the digital inputs – of which you will find optical, coaxial and USB inputs alongside Bluetooth too. The built-in DAC allows for a fully balanced signal to be outputted to the XLR outputs on the rear but there are also RCA outputs for those with single-ended equipment. Both analogue outputs can be configured to be fixed level (line-out) or variable (pre-out).
Setting it up with Roon was a doddle and I was up and running quite quickly without any hiccups, but I know not everyone wants to use Roon so it’s handy it works with other services easily.
If you do not wish to take advantage of the excellent internal DAC, the DMP-A6 will output digital coaxial, optical, USB and HDMI audio. There are, unfortunately, no analogue inputs on the DMP-A6, which means those running turntables or tape decks will still need another pre-amp in their system.
I’ve been getting my ears around a few streamers recently and it’s really interesting to hear the differences between them. There are people who believe “DACs all sound the same” but I can assure you they do not. From the chip used, to implementation, to the analogue stage and power supply all these parts can and certainly do make a difference.
This unit runs off a standard IEC cable, but the internal switch-mode power supply has a few tweaks to keep any mains noise at bay. This includes a choke filter alongside audio-grade components and it’s nice to see they didn’t forget the smaller details. Build quality is superb! The chassis is very well-finished and the device is of a good size to fit into most systems. The front screen is clear and bright and easy to use, it’s also responsive which is great for navigating through the menus. The inputs and outputs on the back are all extremely good quality and the front knob also feels great to use.
All-in-all the DMP-A6 is a very feature-packed, yet intuitive-to-use streamer that most people should find easy to get their heads around. But there’s no point in having all this functionality if the device doesn’t sound very good, so let’s dive into that now. SOUND OF THE DMP-A6
Luckily, Eversolo has stuck to a tried-and-true formula with the DMP-A6. Their implementation of the ESS 9038Q2M chips is one that doesn’t come off overly analytical or clinical, yet still doesn’t stray into the warm and laid-back category either. When you play music through the DMP-A6 it gives you a presentation that is believable, detailed, and clean. It has a tight grip on the music, never sounding slow or sluggish, yet it avoids being harsh and also avoids the so-called “ESS glare” that really is a thing of the past.
The DMP-A6 is compatible with most streaming services and you can get these playing with ease. Switching to the digital inputs is also easy from the internal menu system or the app. There is a new Bluetooth remote that has also been released, allowing for easier control when sat further away from the unit.
It is a streamer that doesn’t try to colour the sound too much, and it really isn’t overly noticeable in the system in terms of what might colour the sound, but it does have a typically linear presentation. It sacrifices a little warmth in exchange for a more tonally neutral sound that works well with most carefully put-together systems. It’s not the last note in organic sound, however, I never found it to come across as harsh or hard-edged either - it just kind of does its thing of presenting the music in an unconstrained and open way.
The native app also supports local playback from files stored on either an M.2 SSD (that you can fit into the bottom of the streamer) or an external drive plugged into the USB port. It has been noted
Amy Winehouse’s Back to Black is gritty and nuanced with the DMP-A6 allowing you to hear all the subtle details in the recording without sounding too clinical. It has good scale and the placement of
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instruments is accurate and never does it sound like there is a lack of dynamics. I decided to see how it handled something a little different and put on Electric Callboy – Hurrikan. The first half of the song is punchy German tekno transitioning into heavy metalcore halfway through. The DMP-A6 shows how it has an excellent grip on the sound, easily separating the kicks in the second half of the song and delivering the track with the energy it deserves.
The great thing about the DMP-A6 though is that you can simply run it into an external DAC if you wish and you have a lovely streaming front end with the back end of your choosing, and I cannot take points away from the Eversolo for being neutral in its presentation.
When listening to Gabrielle Aplin’s Home, for example, her vocals are stunningly detailed and it is a beautiful song. However, this is a song that needs to be portrayed with emotion and I found the DMP-A6 to be a little too clean to sound utterly convincing. Though the vocal harmonies are not lost and it’s easy to hear all the layers in the recording. There is a great sense of air and separation going on, however, the harmonics from the piano are a little muted.
CONCLUSION
You can also easily run your CD player or other digital transport into the DMP-A6 and take advantage of the exceptionally clean internal DAC and I may have been spoiled by the iFi Audio Neo Stream pre-amp circuits. It works very well as a digital hub I reviewed before the DMP-A6, and the Neo Stream for streaming and DAC duties and is excellent as part of a headphone system running it into an external still has the upper hand in audio quality in terms of headphone amplifier. timbre and insight (as it should for the price). The Eversolo has that slightly dry and more linear sound that won’t work in every system, and I’ve found The flexibility of the Eversolo DMP-A6 is truly immyself (subjectively) leaning more towards a natural pressive and there are so many ways it can be sound that just makes you get lost in your favourite incorporated into a system that it’s hard to find somewhere it won’t work well. tracks.
The DMP-A6 is simply superb value for money! Taking into account all the features, build quality, and sound it will be the perfect digital front-end for many people’s systems. The sound is neutral, flat, and clean, and it doesn’t lack dynamics or punch. There is also no harshness to the sound. This makes
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it fit into most systems with ease, but it may not be to everyone’s taste and if this is the case you can always run it into the DAC of your choice.
neutral sounding overall
There are a few bugs that some people have reported, such as slow loading of album artwork when playing from an SSD and the app crashing from time to time. This is still quite new to the market and there are still frequent firmware updates which will bring fixes to these issues in time but, personally, running it mostly as a Roon endpoint I didn’t experience any issues.
For what you get, the DMP-A6 is extremely good value for money
Value For Money:
We Loved: Lovely layout with an excellent screen and neutral sound signature Flexibility and functionality are superb
Eversolo has made an excellent streamer with well-implemented ESS DAC chips and an excellent pre-amp stage. The design of the streamer, and the layout of the menus are excellent and it really is a very impressive device for the money.
Some minor bugs to smooth out with future firmware
AT A GLANCE
Not for those who want a slightly more forgiving and natural-sounding device
Build Quality:
Elevator Pitch Review: If you want a clean-sounding digital front end for your system, the DMP-A6 is hard not to recommend. It’s a budget-friendly yet featured-packed streamer with an incredibly controlled and detailed sound signature.
It may be another black box, but the display looks incredible and it is very well put together Sound Quality: Clean, crisp, and detailed sound with a slightly forward presentation. It’s not overly analytical but is
We Didn’t Love So Much:
Price: £759
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iFi AUDIO iCAN PHANTOM ifi Audio iCAN Phantom is a £3749 and is touted by iFi as being the only headphone amplifier you The iCAN Phantom promises to be the only desktop headphone amplifier you need, boasting huge output power for hard-to-drive planners, will ever need. Oscar an energiser stage for driving electrostatic headphones, and quiet background for even the most sensitive of in-ears. Coming in at £3749 Stewart takes a listen it’s not a cheap headphone amp but, the number of features and functionality promise to make this excellent value for money...on paper, at to see if this is really least. the case. BUILD QUALITY AND FEATURES OF THE iCAN PHANTOM Ifi Audio are a very established brand in the portable audio and headphone world, they have a strong following and are the sister company of Abbingdon Music Research. IFi Audio manufactures a large range of DACs, DAC/Amps, Dongles, headphone amps, and tweaks. In this review, we are looking at one of their flagship products, and their flagship headphone amplifier, the iCAN Phantom.
The iCAN Phantom comes well packaged and, for a headphone amp, it has some weight to it. Unboxing was a breeze and I had the amp in place and set up quickly. The main chassis is made of aluminium and the design is a little odd as many mentioned when this product was released - it looks like one unit stacked on top of another. The top section is typically iFi with a silver finish, but the bottom half with the inputs/outputs is matte black with a finned design to help with heat dissipation. The top cover is made of glass with a machined round disc with the iFi logo embossed in it and you can see some of the inner workings through the glass including the 5670 valves inside – a nice touch in my opinion. On the back of the amp, you have inputs and outputs, this includes 3 pairs of RCA inputs and 1 pair of XLR inputs, output wise you get 1 pair of RCA and 1 pair of XLR which work as pre-outs – perfect for running into a pair of powered speakers or power amp. On the front you have 2 big knobs, one controls the input selector and power along with allowing you to get into the main menu, the oth-
Reviewed by Oscar Stewart
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er is purely for volume. Between these knobs is a display that shows you the volume level and output settings, either side of this display are switches, one for the valve mode, the other for changing the gain setting.
Underneath these you have 5 buttons, 2 of these are for the electrostatic output (AC mode and Impedance), 1 is for the iEMatch function, another for XSpace and the last one is for XBass – more on these features later. You will find the ESL power button to enable the ESL section next to the 2 x 5-Pin outputs for electrostatic headphones, one is for Custom/Pro bias and the other is for Normal bias, then you have 2 x 3-pin XLR/6.3mm combo outputs which can be used with either 2 x 3-pin XLR balanced cables, or as single-ended 6.3mm outputs. Lastly, you have a 4-pin balanced XLR output, 4.4mm balanced output, and 3.5mm single-ended output – this means you shouldn’t have any trouble hooking your headphones up to this amp whatever their connections. This is a feature-packed amp and it’s difficult to know where to start, but the electrostatic section seems like as good a place as any. Firstly, there are 2 x 5-pin outputs, one is for normal 230v bias and the other is for Custom/Pro bias. The iCAN Phantom comes with a magnetic plate that fits onto the rear panel in which you will find “SD card” bias cards, this allows you to set the bias for your headphones, between 500v and 640v. This enables you to select the right bias for your headphones, along with allowing you to slightly fine-tune the sound by using a lower bias than the headphones require (never use a higher bias voltage than your headphones are rated at).
listening preference. There are 3 gain modes on the iCAN Phantom, 0dB/9dB, and 18dB and this should be set according to the headphones you are using, iFi recommends having listening levels around 12 O’Clock, so if you are using a lot more of the volume knobs travel you can try upping the gain. For electrostatics a gain of 9dB is normally fine for most headphones and listening volumes. Much like the original Pro iCAN, the iCAN Phantom includes iFi’s valve stage. This allows you to choose between a full Class-A solid state amplifier that uses J-FETs or having 2 x NOS GE5670 valves replace the J-FET stage before the Class-A amplification stage. There are 2 valve settings, Tube and Tube+. The first is a more conventional valve stage whereas Tube+ reduces negative feedback to a minimum allowing for more of the valves’ natural harmonics to come through. The amp will turn the valves off after 10 minutes in solid-state mode to prolong their life, so switching back to valve mode requires a short warm-up period. The GE5670 should last around 100,000 hrs of use and they are socketed for easy replacement by simply removing the glass lid of the amplifier. You can see the number of hours the valves have on them in the menu and you can reset this counter if you swap them out. iEMatch is a switch that turns this function on/off – it reduces the output level so the amp can be used with sensitive headphones and IEM’s.
You can also tune the AC output when in ESL mode, this allows you to change between making the bias node that is shared between both channels high impedance, or low impedance for audio signals. According to iFi, this affects a complex set of parameters but in this amp, it makes an audible difference of the presentation when XSpace is enabled.
XSpace can be used with headphones or speakers (via the pre-outs on the back) and automatically switches between these modes. There are 3 steps of XSpace, 30/60/90 – this is an all-analogue circuit that aims to create a more out-of-head listening experience, like cross-feed circuits featured on some amps. ifi states that this feature acts like crossfeed, but without the downsides, and the different angles produce different widths of sound, this allows you to set it to your own preference.
Additionally, there is an impedance setting when using the ESL section, this is a little simpler and affects the load impedance the amp sees when using electrostatics. IFi Audio recommends leaving this quite high (64 or 96Ohms) as it’s an easier load on the driving amplifier, but you can set this to your
XBass is essentially a bass boost circuit, once again in the analogue domain, with 3 levels. This function works for headphones and loudspeakers, 10Hz is for products missing a little bass from 40Hz and below, 20Hz is for products that are missing some bass from 80Hz and below, and, lastly, 40Hz is for prod-
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ucts missing substantial bass from 120Hz and below. There is an app you can install on your phone (iFi Nexis) that allows you to connect to the iCAN Phantom, I tried this and managed to connect, it did, however, take a few tries to pair the amp with my phone. Once paired you can use your phone as a remote for the amp along with showing you some stats on the valves installed (bias voltages). The main thing the app is good for though, is firmware updates, so I highly recommend getting the app and pairing if you can for this feature alone.
SOUND QUALITY For reference purposes I used the SMSL D6s DAC via its balanced outputs into the iCAN Phantom, this DAC offers a neutral and flat output which is excellent for testing downstream components without imparting its own flavour. The electrostatic energiser is one of the key features of the iCAN Phantom, and this sets it apart from many other headphone amps, so I decided to try this section first. K&S Distribution was kind enough to loan me their demo pair of Audeze CRBNs to use for this section of the review. As some of you may know, I’m not always the biggest fan of the typical electrostatic sound however, I do appreciate them from a technical perspective. So, setting my personal preferences aside I slotted the 580v card into the iCAN Phantom, set the gain to 9dB, impedance to 96Ohms, and AC mode to full, and started listening to some music. First off, the iCAN Phantom runs the CRBN with ease, the energiser section of this amp is superbly designed and I cannot detect a hint of noise from anywhere. In solid-state mode the sound is beautifully balanced and expertly controlled, it’s a reference-sounding amplifier with a huge amount of detail but without any emphasis on any part of the spectrum. Listening to the kind of music that works well on electrostats, City and Colour – If I Should Go Before You, for example, there is a huge sense of space from the sound of this combo. It digs deep into the recording, the acoustic guitar having beautiful timbre and vocals come across with convincing tonality. There is a huge amount of resolution and detail retrieval without sounding clinical, this is an open and airy sounding combo with body when required.
Listen to well-recorded music and you will be rewarded with excellent sound from an electrostatic headphone paired with the iCAN Phantom. If you are a fan of Jazz, Classical, Acoustic, and the like then this system is very impressive. Celeste – Hear My Voice (Live from Abbey Road) sounds simply stunning through this setup, such an effortless and well-separated sound that hides nothing, yet sounds so natural and real. If you find your headphones lacking a little bit of body you can switch XBass on to the lowest level and bring out a hint more body and bass presence without affecting the midrange and treble. Electrostatic headphones still won’t deliver thumping bass, but it does give a nice subtle lift to the low end which can be very enjoyable. You also have the tube modes you can combine with the ESL stage. Regular tube mode is subtle and the GE5670 valves that iFi use in the iCAN Phantom do have quite a linear sound for valves. But in this mode, there is a slight softening of transients that makes the sound blend and flow a little more naturally. Tube+ mode brings out more of that valve sound that many of us enthusiasts love and this works very well with electrostatic headphones in my opinion. Next up the HiFiMAN Susvara, not an easy load for most headphone amps out there, but the iCAN Phantom has no issues driving these to deafening levels. Even on low-gain when fed by a balanced input these get to normal listening levels with ease, only requiring 9dB of gain when playing quieter music. Compared to the slightly warm tilt of the Violectric DHA-V226 I recently reviewed, the iFi amp comes across as more linear and crisper in solid-state mode, but it’s still not what I would call a cold and lifeless amp, it just lacks colouration. The Susvara handle anything you throw at them and the snappy and responsive iCAN Phantom allows them to easily keep a grip of complex mixes without ever sounding muddy. These headphones have great punch and this amp doesn’t hold them back, this is one reason why I personally prefer planar headphones over electrostatic, they have similar responsiveness but with better impact, in my opinion. These can handle heavier music, put on some metal and these just present it in such a brilliant way that
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is both engaging and impressive on a technical level. Architects – Gone with The Wind hits with authority, but Sam Carter’s vocals are hauntingly good on this track, it gave me goosebumps when listening through the Susvara with the iCAN Phantom in Tube mode. The different guitar lines are easily distinguishable but there’s always a thick foundation from the drums and bass guitar, once again showing this amp can handle whatever combo you throw at it and deliver superb sound.
Turning on the iEMatch I then plugged in the Westone MACH80s to see how this amp would handle some sensitive IEM’s – and there is zero background noise when using these, an impressive feat from such an amp. When being fed by quite a high output DAC like the SMSL D6s I did find that even on the lowest volume setting of 1 I was getting comfortable listening volumes and so you may fare better with using the RCA inputs when using a sensitive pair of earphones. For these, I did find solid state mode to work the best and the sound was once again clean and detailed, a true reference amp for a reference pair of headphones. I found that enabling XBass added a little too much to these in-ears, and the XSpace settings also didn’t quite compliment the sound of the MACH80s. Mayday Parade – I Can Only Hope is articulate and well controlled, the low end has good impact and the snares are lovely and crisp, vocals and guitars are well placed within the mix and the treble is well extended. This amp can handle sensitive IEM’s without an issue, once again highlighting the versatility of the iCAN Phantom. It didn’t matter what headphones I threw at the iCAN Phantom, high or low impedance, balanced or single-ended, planar or dynamic, it always managed to drive them with an effortless quality whilst remaining incredibly transparent. It’s an amp that, in solid state mode, doesn’t ever try to colour or change the sound from the source to the headphones, but it allows you to colour the sound should you wish using its plethora of features. I didn’t find myself using the XSpace function much with most of the higher-end headphones I tested, but on the Grado SR80i I found the lowest setting to actually sound very natural. It throws the sound out from the headphones a little and makes them a tiny bit less fatiguing, a feature that will work with some headphones and songs better than others.
The same goes for the XBass setting. For the most part, I tended to leave it off, but once again with the Grado SR80i I found the lowest setting to sound fun on a headphone that some people can find a little fatiguing. The tube settings are something that I am a big fan of, though. I enjoy valves and I do think they add to the sound on a subjective level. In the first Tube mode, the iCAN Phantom still retains a snappy and controlled sound with just a slight edge taken off the transients, and perhaps a tiny bit of warmth comes through from the harmonic distortion. This is nice if you just want a subtle hint of valve sound without taking away from the technicalities. Tube+ mode on the other hand does inject more warmth into the sound, making it overall smoother and softer than solid-state mode. This won’t be to everyone’s taste, but it is highly enjoyable on those headphones that tend to be a little too linear in their stock form. Most of these features can be used when the iCAN Phantom is working as a pre-amp too, allowing you to increase the bass presence of your small desktop monitors, or widening the sound if they are placed too close together. The inclusion of a remote along with the ability to remotely control the amp from your phone are great features if you want to use it as a pre-amp, or even a headphone amp that’s placed a little further away from your listening position.
QUIBBLES The volume control display isn’t always in proper sync with the dial, meaning you can change to 40 and it will then read out 43 when you remove your hand – a very minor quibble I know.
CONCLUSION ifi Audio call this the Rolls Royce of flagships – and I cannot argue with that. It features a reference class solid-state headphone amplifier stage that can be tweaked to your preference with the inclusion of a valve stage, XSpace, XBass, and iEMatch. This headphone amp even includes a well-implemented electrostatic energiser circuit for all the electrostatic lovers out there, making this one of the most versatile and feature-packed headphone amplifiers I have
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had the pleasure of using.
Value For Money:
It’s worthy of its flagship status, this has all the features you could possibly want without skimping on the sound quality, not forgetting that it’s also a powerhouse that can drive nearly every headphone currently on the market.
Based on the features, build quality, and versatility it really is very good value for money
AT A GLANCE
We Loved: The flexibility to run most headphones and sound great doing so
Build Quality And Features:
The valve stage adds some flavour to the sound, this is subjectively enjoyable
Solid build
We Didn’t Love So Much:
Huge array of features that are functional
The sensitivity of the volume knob when it comes to the digital display
One of the most versatile headphone amps on the market Sound Quality: Reference class sound when in solid-state mode Valve stage adds some tube warmth Super clean with a pitch-black background
Elevator Pitch Review: This is pretty much all the headphone amplifier a headphone enthusiast could need. It has a clean reference sound but you can tailor it to your liking by going through the valve stage or enabling XBass/XSpace circuitry. It’s hugely versatile and will run most headphones on the market with ease. It’s immensely capable and a joy to both use and listen to. Price: £3749
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MILTRA OTL-8XT HEADPHONE AMPLIFIER
Miltra OTL-8XT Headphone Amplifier is made in Poland, uses an Today we are looking at the OTL-8XT which is the current flagship interesting OTL (Outmodel in terms of their headphone amplifiers, but it comes in at a very reasonable €1300, proving quality doesn’t always have to cost the put TransformerLess) earth. design and costs 1300 BUILD QUALITY AND FEATURES OF euros. Oscar Stewart THE MILTRA OTL-8XT warms it up for HiFi PiG. Miltra are not a brand many of you will be familiar with, they are a small Polish company making a couple of valve-based headphone amplifiers along with a single integrated HiFi amplifier. Each product is handmade and very little is outsourced, meaning the quality of the amplifiers is consistent.
The main casing of the OTL-8XT is stamped steel I believe; it comes with a solid machined aluminium front plate and there are aluminium trim rings around the valve bases. The volume knob is also aluminium and there are very nice feet on this amp with an aluminium body and rubber feet that prevent it from sliding across your desk. There are 2 pairs of RCA inputs on the back which are of very high quality and a single 6.3mm headphone output on the front. There are 2 buttons on the front of the amp, one for the power and the other for switching between the 2 RCA inputs. I believe the outer casing that houses the transformer is aluminium with an aluminium top cap that has the branding embossed in it. The above description doesn’t quite describe how well-built this amp really is though, it feels incredibly solid and the valve sockets are nice and tight. It is also an extremely good-looking amp in person and it came shipped in a wooden crate. Everything feels very well put together, a lot of thought and care has been put into making this amplifier. It runs in full Class-A topology and uses high-quality Vishay, WIMA, Nichicon and Alps components, the rear power valve is a soviet made 6N13S which can be replaced by 6AS7G or 6080 valves (6080 valves will need socket savers to bring them up in height). The front driver valves are Soviet-made 6H8C and can be replaced with the common
Reviewed by Oscar Stewart
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6SN7 variant. The power transformer is hand-wound in-house by Miltra which is quite impressive too. There are a couple of little features that stand out on this amplifier, the first is perhaps the delayed warm-up procedure which helps prolong the life of the valves. It takes a couple of minutes to warm up and the LEDs around the volume knob slowly change one by one showing you how far into warming up it is. The second is the volume control itself, the knob is glorious and super smooth due to using a 10mm brass axle mounted on two ball bearings. It uses a relay ladder resistor-based volume control that is microchip controlled, allowing for perfect channel balance at any volume and that distinctive clicky sound when adjusting the volume. The LEDs around the edge of the knob indicate the volume level, this is probably the smoothest volume knob I’ve had the pleasure of using.
SOUND QUALITY Now, it’s no secret that OTL (Output Transformer Less) valve amps work best with high-impedance dynamic headphones so for this review I mostly used high-impedance dynamic headphones, but I did throw in some planars too as they have flat impedance curves, and my Grado’s for good measure. This amp is highly enjoyable to listen to on a subjective level, using the S.M.S.L D6s DAC to feed it a clean audio signal the OTL-8XT then colours the sound in a very pleasant way. This is still a very detailed amp, it will not smear the finer nuances in the tracks you are listening to, but there is an effortlessness and ever-so-slight smoothness to this amp that makes me want to listen for hours on end. Both my German Maestro GMP400 and Beyerdynamic DT880 600Ohm headphones are quite flat and boring-sounding studio headphones that both come alive when used with a good OTL amp. Take Linkin Park – Easier to Run, on the GMP400’s through a more linear solid-state amp the bass line gets a little lost, being too controlled and flat, they don’t quite have the impact required for this song. Through this system, you get all the insight with a little more body and articulation in the bass region. These headphones become a lot more enjoyable for music playback when listening through the OTL-8XT, even if they are slightly less accurate.
The Beyerdynamic DT880 600Ohm simply sing through this amp, this is a relatively inexpensive headphone but one that really does scale with good amplification behind them. Spiritbox – Secret Garden is a brilliant song and Courtney LaPlante’s vocals are intimate and detailed, the guitars have excellent power and the driving bass line is controlled yet full without becoming overbearing. There is only a hint of extra warmth from the OTL-8XT which is a good thing in my opinion, but it does take the edge off sharper notes and has a slight fluidity to the sound that works so well with this kind of headphone. I also find that this amp helps with the soundstaging a little, it’s not a huge difference, but the sound does have slightly better width and depth to it. I also used this amp with the Sennheiser HD660 S2 and found that to be an exceptionally good match, for some reason instead of smoothing out an already smooth headphone, this amp makes them sound a bit more dynamic and punchier with better separation and control. I’ve had this before with the HD650, a headphone I found quite bland until I heard them with a good OTL amp, upon which they really came to life. Now, the HiFiMAN Susvara are a headphone that usually use many, many watts of power to make them sing but, the OTL-8XT manages to drive them a lot better than I expected. Planars have a linear impedance curve meaning they don’t usually suffer from the downsides of high-output impedance of OTL valve amps. Yes, at loud volumes I can get the amp to clip, but at my normal listening level the Susvara sound excellent with this amp. They retain the snappiness they are known for, but with a very natural and smooth sound and they don’t lose any impact and spaciousness at the levels I tend to listen at. I’m not going to say run out and grab this amp if you own the Susvara, but it really did surprise me that it drives them well in my setup. Pierce the Veil – Death Of An Executioner has quite a prominent bass guitar line that’s well articulated via the OTL-8XT / Susvara combo, whilst kick drums hit with good punch and depth. This amp manages to portray the treble in a very smooth manner but without making the amp sound dark. There is no doubt that an amp like the iFi iCAN Phantom can push these headphones further, but I found myself enjoying this combo a lot. Trying an easier-to-drive planar, the recently released Fiio FT5, this amp handles them without
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issue and sounds excellent whilst doing so. These are quite a smooth headphone already and this amp might tip them over to being a little too warm for some tastes. There is excellent control and air to the sound and even with the full low end these headphones have this amp seems to work very well with planars... which is good. The OTL-8XT is a little more powerful than some OTL amps, but, as always, finding synergy between your headphones and the amp is key. Plugging in the less-than-optimal impedance Grado SR80i does make them sound a little under-damped and the bass becomes a little bit loose, but it does an admirable job at keeping them clean and detailed. This is not an optimal pairing, but then again, this amp is not designed for this kind of load so I cannot complain. I’m a firm believer that any headphone enthusiast with high-impedance dynamic driver headphones should try an OTL amp with them. Purists might scoff at valves and their distortion, but the reality is that our brains process this distortion as subjectively enjoyable. Now, I’m not saying you should jump right to this particular amp, Miltra do make a slightly more budget-friendly OTL-PCL8, but if you do have a set of headphones that you are enjoying with a valve amp this might be the logical step up for you. One of the best features about these amps though,
is the ability to roll the valves. I’ve been trying this out a little with the OTL-8XT by fitting some RCA 6AS7G power valves and Hitachi Japan 6SN7GTB valves which is a lovely pairing. There’s a wealth of information on the internet about how different valves sound and it’s easy to get lost in this - try some for yourself and enjoy the subtle differences the different brands and constructions have to offer. In the meantime, you’ll find me with my legs up, sitting back, and enjoying song after song from the OTL-8XT.
QUIBBLES As with any OTL headphone amp, it won’t pair well with all headphones, but that’s just how they are.
CONCLUSION In the grand scheme of headphone amps €1300 for the OTL-8XT is not a lot of money and this is a fantastic amplifier if you like the sound OTL amps can provide. It’s not a smoothed-over, dark-sounding amp that will make everything sound like it’s behind a blanket, instead, it retains an ease in its detail retrieval and a spacious sound that just sounds effortless. I won’t deny that there is a hint of warmth and smoothness to this amp, however, it won’t drastically change what you are listening to and, instead, I
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find it to subtly enhance the right headphones. Miltra has managed to build an excellent amp for a very reasonable price. It’s not an entry-level amp by any stretch, but it would suit someone who has an entry-level OTL headphone amp and is looking for the next step up. It’s got some excellent features that are backed up by a sound that has all the traits of a very well-designed amp; clarity, depth, and the ability to make you want to listen for hours on end. So besides the looks and feel, it also sounds fantastic and has excellent driving capabilities, it will work well with all high-impedance dynamic headphones and also quite a few planar magnetic headphones out there.
AT A GLANCE Build Quality And Features: This is an extremely solid amplifier High-quality components are used throughout Well-thought-out design Sound Quality: Fluid and dynamic
Clean yet smooth-sounding headphone amplifier Value For Money: In the grand scheme of things, this isn’t an expensive amplifier for what you get so I think it is very good value for money. We Loved: The looks and build quality are matched with effortless and engaging sound quality. We Didn’t Love So Much: Get the pairing wrong, and it won’t sound all that good at all. Elevator Pitch Review: If you’re looking for an OTL headphone amp in this price bracket, do consider the OTL-8XT! It is superbly built and a pleasure to use. The sound is smooth yet detailed, has great depth and, pairs beautifully with high-impedance dynamic driver headphones. Take some time to match this amp with the right headphones and you won’t want to stop listening when this amp gets you lost in the music. Price: €1300
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S.M.S.L D6s BALANCED DAC S.M.S.L D6s Balanced DAC costs less than £200 but can it hold its In this review, I will be looking at one such product, a sub £200 Highown with the more exRes DAC with balanced outputs. The D6s features an ES903Q2M DAC chip and promises clean audio output for a very modest price, but pensive DACs out there. does it impress? Oscar Stewart finds BUILD QUALITY AND FEATURES OF out for HiFi PiG THE SMSL D6S S.M.S.L are quite a well-known brand in the audio world, they are based in Shenzhen, China and make a huge range of DACs, Amps, Headphone amps, and other source components. They make products to suit most budgets and, are known to make some great kit in the lower price bracket.
The D6s is a really nicely built DAC for the price, it’s housed in a relatively compact package but features a full-size regular IEC cable input for the power supply. The other inputs on the back include optical, coaxial, USB-C, and a port for a Bluetooth antenna, output wise you get a pair of RCA sockets and a pair of XLR sockets – most bases should be covered by these. On the front, you have a display which shows you the sample rate, but also works to help you navigate the menu system. Next to the display is a knob which controls the volume so you can use it as a pre-amp as well as control the menu system. The casing is all black and made from aluminium, it feels rather sturdy and it’s very well finished for its price too, no corners seem to have been cut. Feature-wise it can accept all the common high-res files via USB up to DSD512, and DoP64 via Optical/Coaxial – all of these ports also support MQA audio if that’s your thing. Bluetooth is featured on the D6s and supports SBC/AAC/aptX/aptX HD and LDAC, having LDAC on a DAC in this price range is quite impressive and promises to give you excellent audio over Bluetooth for convenience. The internal power supply is a low noise switching one to prevent noise from affecting the performance of this DAC. The outputs can output a maximum of 2.5Vrms via RCA and 5Vrms via XLR – this is slightly higher than usual but shouldn’t overwhelm the input stage on
Reviewed by Oscar Stewart
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most downstream components. In the menu system you can change the digital filter as well as being able to adjust the DPLL bandwidth – this is a huge feature that is missing on a lot of DACs and it can help if you suffer dropouts via optical from devices that have a lot of jitter on their outputs. You can also change the screen brightness, on its lowest setting it’s not too bright or distracting which is good. You also get a remote with the S.M.S.L D6s, allowing you to use it as a DAC/Pre-amp into some powered speakers or a power amp should you wish, the remote lets you change input, control the volume, and change any of the settings in the menu from the comfort of your sofa. This DAC is super easy to set up and with my PC no drivers are needed, and with the rest of the ports it is essentially plug and play – it’s absolutely fuss-free and easy to use.
SOUND QUALITY I’ve been using this DAC in my headphone setup for a little while now and use it with the iFi Audio iCAN Phantom as a reference point, and to me, that’s what the D6s is best at, being a reference point. This is a typical delta-sigma DAC that does an impeccable job at converting your 1s and 0s into very clean analogue audio without colouring the sound or changing it at all. Now, from a subjective point of view, some might call this kind of device boring or cold, but they provide excellent sound and, in this case, do it for an impressively low price. The D6s is simply fabulous at providing a clean and unaltered sound, it’s a DAC that lets you hear what your downstream kit is doing rather than what it is doing itself. Alesana – Pathetic, Ordinary is an energetic track at the best of times and, not one I thought I’d find myself using in a review, but the S.M.S.L D6s delivered such clean audio to the Miltra OTL-8XT valve headphone amp that it really allowed me to appreciate the headphone amp and Beyerdynamic DT880 600Ohm headphones themselves. Now this might sound counter-intuitive, after all, I’m supposed to be reviewing the DAC, however, this is in fact high praise for the D6s getting out of the way. It allows everything else to colour the sound to mine, or your, personal preference. Bass hits with authority and body, but there isn’t any additional warmth, the
midrange is crystal clear and the treble has no trouble with extending right up out of audible range.
Feeding the XLR outputs into the iFi iCAN Phantom and powering the HiFiMAN Susvara it never sounds like it holds them back or takes anything away from the overall sound. The soundstaging is still huge, the midrange beautifully balanced and natural, and the treble smooth and extended. If you want a DAC that just passes the audio through, warts and all, the D6s is excellent at this. It might seem odd to pair a sub £200 DAC with an amp and headphone pairing costing over £9k, but the D6s does not disappoint and I strongly believe that if you hid the D6s out of view nobody would complain, or think the DAC feeding this combo was the weak link. My favourite song by The Appleseed Cast came on, it’s called A Dream for Us, and the recording has a lovely sense of space to it with soft guitars that are panned hard left/right within the mix. The D6s does a superb job of portraying this mix without getting in the way of the song, the snare drum is taut and snappy, allowing you to hear every strike of the drumstick, and the vocals are set back ever so slightly on purpose to give the instruments focus. Cymbals shimmer and fade off effortlessly and the whole soundscape is captivating, leaving me in aural heaven. This DAC lets the downstream components do the heavy lifting and it’s not a DAC you would buy to give colour to your existing system, it is one that you would get for it to get out of the way of the music in an unobtrusive manner. This is a DAC that has a tight grip on the music and never sounds slow or congested, it’s always clean and tight and delivers music in a very linear manner. It’s the perfect discreet DAC that can be left in a system without drawing attention to itself. Bluetooth works very well on the D6s, yes, there is always going to be a slight drop in quality due to the lossy nature of the compression, but using it with a Pixel phone using LDAC it really is very detailed. Bluetooth is always more of a convenience feature but, S.M.S.L didn’t skimp on the formats and offers up very respectable Bluetooth quality.
QUIBBLES I guess the one quibble I might have is the display
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on the front sits proud by a couple of mm, meaning it’s difficult to stack another device on top of this DAC.
Easy-to-read screen
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Linear and detailed
The S.M.S.L D6s is a truly excellent DAC for its price, with an audibly linear and transparent sound, it aims to leave any colouration to the equipment downstream. I know linear delta-sigma DACs are not everyone’s cup of tea, but this is a very well-designed and well-implemented ESS-based design that is flawless at what it does. The balanced outputs are a good inclusion for the price and it is flexible in terms of inputs with coaxial, optical, USB and Bluetooth available. The ability to control the volume also means you get a pre-amp function for use with powered speakers and the remote facilitates this. Having a DAC like this around also helps set a reference point too, knowing that it isn’t adding or taking anything away from the sound allows you to set a base point for comparisons.
AT A GLANCE Build Quality And Features: Solid metal Good quality connectors
Sound Quality:
Value For Money: Excellent value for money, cheap yet audibly transparent and well-built We Loved: Ease of use, it is a plug-and-play DAC Reference sound quality without colouration We Didn’t Love So Much: I can’t pick any faults with this DAC, it does what it’s supposed to do without any quirks Elevator Pitch Review: If you want a clean and linear DAC that has multiple inputs and balanced output the D6s really is very hard to beat for such a low price. Its aim is to not add anything to the sound, instead it lets the downstream components shine. It’s a fit-and-forget DAC that gets on with the job at hand without drawing any attention to itself, yet has great features allowing it to fit into most systems without issue. Price: £179/$199/€179
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OSV HT 50 AMPLIFIER The OSV HT 50 integrated amplifier comes from Poland, costs £6500 and is a hybrid valve and solid-state design. Janine takes a OSV is a company from Katowice, 60km west of Kraków. Begun in 2018 listen. as JK amplifiers it produced world-beating bass and guitar amplifiI have a passion for valve amplification, it started with my aged Leak Stereo 20 and various Audio Research preamps collected and enjoyed over the years. To be sent another from a company I have to admit I know very little about was going to be an exciting proposition for me, especially when it only has three valves (well, the mirror behind the tubes makes it look like 6. Clever!). After all, I am used to 8 valves in the Leak. The OSV HT 50, coming in at £6500, is no ordinary integrated whether in design, looks, or performance. I was particularly keen to review this as it is made in Poland, a country producing a lot of serious HiFi kit these days, owning as I do the excellent Pre-Audio tangential turntable GL-1102N.
ers, winning “Gear of the Year 2019” from The Bass Player Magazine. Turning to the HiFi market they are now seeking to gain just as good a reputation.
Daniel Sarna is the designer and engineer with Simon Pyzinski as sales manager. As Simon told me, “The first step was instrument amplification like bass and guitar amps; the next natural step became a studio-grade amplifier for music postproduction. We felt extremely encouraged back then and thought that we may be doing something right. We stopped following big companies and started inventing something special, experimenting with different approaches when it came to building amplifiers”. Daniel and Simon are both from the Silesia; near the borders of Poland and Czechia, hence the name OSV (in German: oberschlesische verstaerkers, “upper-Silesian amplifiers”). Importantly, too, both are musicians which is always a good background when designing audio, as Simon told me “For many years we’ve been looking for the right kind of sound, which is not choked, and you never get tired of listening to it”. Should be a good review, then.
BUILD QUALITY AND FEATURES OF THE OSV HT 50 AMPLIFIER This is a very individual and minimalist-looking amplifier with a mot-
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tled grey finish and a large transparent front panel displaying the valves. There are only two knobs on the front (volume and source) and a standby button hidden to the left of a smaller transparent area that houses two indicators to let you know what’s happening. The main on-off switch is at the rear. Use the dinky matching metal remote or that little front button to turn it from standby “red” display to flashing “orange” whilst it sets itself up and then goes “green” when all is ready. Like the amplifier, the small solid aluminium remote is also minimalist with just power, volume, and mute buttons.
The amplifier is extremely well made coming as standard in grey, but they can paint it in any RAL-defined paint you would like to match your car or handbag. Additionally, they will allow customers to experiment with a variety of other valves that work. For example, the website shows 2 6J9PE and 1 x 6SL7, but the review sample had two 6Z52P and one 6SL7 tubes. All valves used are from JJ. Supported pentodes include 6j52p, 6j9p, e180f, ef86, and triodes are 6SL7, 6SN7, 6P9S, as well as any other pin-compatible tubes. Every combination will sound different as Daniel told me; “there are a lot of possibilities for having fun when swapping them”. This is a very simply designed hybrid amplifier. After the input selector is the motorised Alps potentiometer, then the voltage swing valve preamp stage, and finally an AB-class bipolar configuration transistor stage working as a current buffer, producing 50WRMS into 8Ω or 75WRMS into 4Ω. The preamp is an SRPP (shunt-regulated push-pull amplifier) design, and there is only one high-quality Jantzen Audio Superior Z-Cap capacitor in the path of the sound to keep the music as pure as possible. There are just 3 RCA inputs on the sparsely laid-out rear, with excellent speaker connectors. If you wish for Bluetooth, then that is an available option and will take the place of one of the RCA inputs. The review sample only had the line-level RCA inputs, and for the review I used vinyl, reel-to-reel and FLAC/DSD sources.
SOUND QUALITY This class AB integrated takes under 30 seconds to get itself ready to play music, though I gave it longer before I started to take to reviewing, as I found it was at its best after around 20 minutes. I also found it to be a very quiet amplifier. It gave a very smooth
and welcoming sound, though still having all the detail you’d expect from a transistor output stage. The title track from ‘All the Time in the World’ from Louis Armstrong had smooth strings accompanying his customary gritty voice, showing the amplifier didn’t hide anything from the listener, the valves and transistors working brilliantly in tandem. This was a very detailed performance with an especially powerful piano accompaniment. Whilst this is an extremely musical player it could also capture brilliantly all the idiosyncrasies in music, including sensitivities or bursts of anger in the music. This was the case in ‘Love over Gold’ from Dire Straits, an old favourite of mine released in 1982. The OSV was sensitive to the atmosphere and gentle performance at the start, but still had plenty of reserve for all those moments of anger later in the music. The amplifier was unfussed by anything I threw at it; the music performing in an equally unfussed way. I could listen to the amplifier as long as I wanted without any fatigue, something that Daniel had wanted to achieve when he designed it. The only complaint I had all the time that I had the amplifier was that when using the remote the button was so sensitive that a single quick press changed the volume 2dB or more. However, having a physical Alps potentiometer meant you could still get up off your seat and manually get it to the level you want if necessary, unlike my resident transformer passive MFA Baby Reference preamp which is stepped at 2dB so I can never quite get the ideal level! I decided to listen to some jazz and one of my favourites; the much-underrated jazz pianist Dudley Moore ‘Live from an Aircraft Hanger’, which was a special recording taped at the Royal Albert Hall in 1992 (rather than an Easyjet hanger as its name suggests). Proceeds from the concert went to the Dudley Moore Research Fund for Progressive Supranuclear Palsy, a condition he later died of in 2002. This is an album of 24 tracks, including many of him telling jokes and introducing the music. Ideal for a review, then, with plenty of music, speech, audience, and atmosphere. The album included the BBC Concert Orchestra backing the Dudley Moore Trio. The performance was very clean, with good audience participation. Only the very tops and cymbals were not quite as clear as in my resident Synthesis Roma 98DC poweramp monoblocks. The bassline was very clear and rhythmical. “Moontime” was extremely musical and uncluttered. The piano was very well engineered with a bright and believable tone; this was the only album I played from a digital
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source and sounded amazingly believable. Strings spread across the soundstage with great depth and the amplifier separated the instruments into their allotted space between the speakers. Bass percussion bursts similarly gave a dramatic contrast to the sweet, silky smooth finger work on the piano from Dudley. This was a good performance by both Dudley and the amplifier.
‘Mirror to the Sky’ by Yes is the latest album from this Prog Rock band that formed back in 1968. Released in 2023 this LP is appropriately their 23rd album and I think is one of their best and mirrors many touches of the past from ace guitarist Steve Howe (more from him later). The OSV played this double album with plenty of passion and energy, just not quite matching my MFA/Synthesis package. Everything was brilliantly painted across the stage and with plenty of energy, almost matching the KT88’s of the Synthesis, though it did have a better bass end. Top-end cymbals weren’t quite as forward, though were still excellent. The use of valve pre and SS power is an old idea and works so well, as it does so here with musicality and sensitivity when it is needed and plenty of speed and power. Definition from all the instruments and vocals from Jon Davison were excellent. Turning to classical music, this included Sibelius Symphony No1, Sir John Barbirolli, and the Hallé orchestra. The performance was very polite and clean as I would expect and Sibelius’s great melodies and warmth were here to the full. Violins were smooth and brass and woodwinds were detailed in their allotted seats. Performance was more Cappuccino than Americana. Things got a little more exciting in Miles Davis’s “Kind of Blue” allowing the trumpet and saxophone to really show their talents through the HT 50. This was a very good performance with plenty of detail to the notes. Steely Dan’s “Aja” is a jazzy pop number that just didn’t quite go as far as I had hoped with excitement, though everything was very natural and it captured the music accurately. It was the percussion that drew me to listen to this track, and the HT 50 was very clean, very accurate, and clearer than had been found in the Yes album. Back to Steve Howe and this time with Martin Taylor in a guitar duet album called ‘Masterpiece Guitars’.
This is a very detailed and brilliantly mic’d masterpiece of an album. The clarity from the guitars from this amplifier in “No Pedestrians” were excellent with great stereo-spread in this clearly Grappelli/ Django Reinhardt inspired track. This amplifier gave a very effortless performance which at the same time didn’t mean it lost detail. You could easily get whisked away into the music and forget you were listening to HiFi. I just wish it could have taken me just a little further, though for the price this was an excellent performer and heartily recommended.
CONCLUSION This was no ordinary amplifier, not just in its appearance. The HT 50 could whisk you off to the rock concert or concert hall with equal passion and keep you entertained for hours. Everything was there that you needed; bass power, treble detail, and a beautiful midrange, and it could be subtle or angered with equal poise. £6500 isn’t a lot to ask for a preamp and a power amp in the same box, and it is well worth a listen, and if you don’t like the grey, then you can have it made in any colour you like.
AT A GLANCE Build Quality: Excellently put together with equally good components Sound Quality: Well-extended bass end and beautifully musical mid Value For Money: £6500 is not a lot for such an excellent preamp and power amp in one box We Loved: Bass extension Excellent soundstage Effortless performance
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The front panel looks! We didn’t Love So Much: Wish the remote volume control motor was a little slower! Elevator Pitch Review: Poland has been making some excellent HiFi over the last few years, and OSV
from Katowice is no exception. This is a stonker of a hybrid amplifier and even allows you to change the valves in the preamp stage if you want to have a different kind of sound. Brilliantly assembled, you can even request the colour of the front panel to match your car. I thought I’d give it a whirl and mine was in grey. Price: £6500
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DAN CLARK AUDIO CORINA ELECTROSTATIC HEADPHONES
Dan Clark Audio Corina electrostatic headphones are at the top end of the head-fi marketplace given their The Corina is not trying to be a Stax, this is a product in its own right, and whilst I wanted to hear how different it is, I was quite surprised price of nearly £5000. just how musical it turned out to be. I had heard Stax’s own top-of-therange model SR-X9000 at a recent HiFi show, so this would be good Janine Elliot takes a to compare all three. The Corina is DCA’s second electrostatic headphone, replacing the VOCE from 2018. The word Corina in Spanish listen for HiFi PiG means “beloved or dear” (I don’t think the latter refers to the price) I have to say I have been an avid Stax fan for many, many years, owning as I do an SR-407 ear-speaker and SRM-006tS charger/amplifier. The sound can be amazing when connected to vinyl or balanced all the way from my Krell KPS20i CD player. The sound perhaps just slightly lacks clarity in the bass end, and the tops, whilst pin-sharp, can be a bit tizzy with certain types of music. To be sent the new Corina from Dan Clark Audio (previously known as MrSpeakers) was going to be a chance to see just how good electrostatics can be.
and in Greek is derived from word “Korē,” which means maiden or daughter, and this young lady comes in at £4800.
Dan Clark Audio began as Mr Speakers in 2012, and the company has had a number of world-leading designs over that time, some I have reviewed. Dan changed the name of the company in 2019 and this Californian company based in sunny San Diego has been constantly working to take ear speakers to the next level. Would Corina beat the VOCE?
BUILD AND FEATURES The Corina certainly has some of the looks of the previous electrostatic headphone, and even the flagship 88mm driver remains, though this is improved. This time the headband is beautiful leather and the side grilles have a better looking and almost art deco design. The model uses the Acoustic Metamaterial Tuning System (AMTS) first seen on the STEALTH headphone. This 3D printed membrane, looking like a beehive, gives improved resolution and sits between the transducer and the ear. This basically is a baffle diffuser acting as a quarter-wave and Helmholtz resonator, which ends up removing standing waves and resonances that are created between driver and ear. Such is the
Reviewed by Janine Elliot
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design that it even programs the final frequency response of the drivers, ending up with a smooth but detailed soundstage. The idea is to improve the performance, the diffusion elements reducing standing waves which are common in headphones. I’ve seen the idea of controlling standing waves in a few headphones and earphones in the past, though these were placed between the rear of the driver and the ear cup.
The Corina is definitely better looking than the VOCE with the sculptured grey grille and beautiful blue stitching on the black headband. The headband itself is self-tensioning and the Corina has black suede earpads. This reduces heat and moisture buildup, which leather and leatherette earcups will cause. Despite being 100g heavier than my Stax (Corina coming in at 465gr, and heavier than the VOCE) it is still highly comfortable, allowing me many hours of continued auditioning. A lightweight titanium memory headband arch keeps the weight down, though being metal it does ring if you tap it, which is a problem with most headphones. The box it arrives in has a particularly nice matt black finish and inside is a cute black plastic display stand for you to place the headphones on when not using them. The cabling is particularly good quality and easily maneuverable (better than Stax’s flat cabling) and can be unscrewed and replaced if you ever had a problem.
THE SOUND OF THE DAN CLARK CORINA HEADPHONES The first thing I noticed was that these are fairly inefficient electrostatics, largely due to the diaphragm having a 0.58mm stator gap. This didn’t cause any problems because the STAX SRM-006tS amplifier had enough grunt left to keep me happy and most of the time volume was kept at 40-60 percent. I started listening to a few of my favourites as I know them so well, and sources included the Krell CD player, digital FLAC and DSD files, and vinyl tracks. Kate Bush’s “Prelude” and “Prologue” from ‘Aerial’ are very open and very musical tracks with much-extended bass – not OTT – just right but clearly audi-
ble. This was a good start. Similarly, the opening of Sting’s ‘Brand New Day’ is very spacious and has a potent deep bass drone. All good so far. The music of both these albums was spacious, especially the seagulls and noises in Kate’s “Prologue”. Indeed, some of the vocals opened up in a way I hadn’t heard before on cans; more detail but an overall smoother sound. Eva Cassidy’s “Fields of Gold” is a Sting number, but her version is highly enchanting and excellently recorded. Tops from the guitar were clean and precise with Eva’s voice warm and cosy. The Stax tends to make it less smooth and the tops too bright. To conclude my listening for deep bass and atmosphere I listened to “The Battle” from The Gladiator movie (The Lyndhurst Orchestra). Bass was extended and very clean, particularly the percussion bursts at 1’ and 4’. Top ends were equally extended; everything was clean, though the music was more relaxed than through the Stax. The music was very precise and ‘exact’. Everything was put in the right place and with excellent depth to the music as well as excellent left/right soundstage. Whilst the bass is good on the Corina, extremely low frequencies on an organ piece of Bach I played were not so audible. “Legends” from Sacred Spirit is great on headphones with the precise and wide left and right balance of instruments. This electronica was cleanly defined and the metal guitar was fun. Any regular reader will know I am a David Bowie fan, and I think his ‘Heathen’ album is his best. At 3’44” on “Sunday” the melancholy atmosphere is interrupted by a great bass rhythm that gets your feet tapping and your interest up a notch or three to the end of the movement. That bass was again very good, but the vocals were particularly pleasing, just as I had experienced with Eva Cassidy. The guitars and hi-hat in “Cactus” were less prickly than my Stax, but still with lots of detail and extension of frequencies. That top end was so well controlled and musical, and again not as bright as the Stax, which as a much cheaper ear-speaker just doesn’t have the same musicality. These were excellent headphones with plenty of top-end detail, but just not as tizzy as I was used to; everything was smoother and warmer, but not taking away any of the beauty and detail of the music. The Dixie Dregs version of the iconic Led Zeppelin “Kashmir” had such tight drums and clearer tops
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from the cymbals without the tizz and nasal sound of the Stax. Similarly, Dr John’s “Season of the Witch” top end was more defined in the soundstage giving a 4K performance to the music. On vinyl, Ultravox’s reissued 180g ‘Vienna’ album starts with a repeated digital beat in this instrumental first track, only to be joined later with bass and synths. There is plenty of top-end and all frequencies were clear and very atmospheric. “Mr X” has lots of electronics with a clearly defined deep spoken voice that spread beautifully with an echo effect across the soundstage. Often this can sound confused, but the Corinas were very much in control. Of course, I had to play the title track “Vienna”. Whilst the bass wasn’t extended any further than I am used to, it just sounded clearer. The synths seemed more musical and vocals and piano were highly infectious. Everything was just so much more clear between my ears, I guess largely due to the AMTS. The digital violin/cello was highly engrossing, though no headphone - no matter how good would ever turn it into a real instrument, though the Corina did try. Everything was spaced out perfectly in the soundstage and the tops were clearer and more realistic than I have heard before. Turning to jazz I played Thelonius Monk’s ‘Live in Rotterdam 1967’. This is a mono album but that didn’t stop my enjoyment of these headphones. Mono can often sound slow and boring to me, but
the Corinas gave a very faithful and tidy performance that kept me engrossed for longer than I expected. Sibelius’ 2nd symphony from the Berliner Philharmoniker conducted by Simon Rattle has a wellknown opening to get the listener ready for what is an epic and well-known movement. But it was the second movement I wanted to listen to today. It begins with pizzicato cellos which Corina timed beautifully with plenty of atmosphere. As the movement took hold, I was highly engrossed by the soundstage, not just left/right but even the depth of the music. As the Corina has angled AMTS membranes it means sound also hits your ears at an angle and therefore much more naturally. All the classical music I played just sounded so musical that I didn’t want to put these ear speakers down. Finally, Purcell’s Chacony in G minor (Orpheus Chamber Orchestra, DG) was particularly gentle on the ear though even the harpsichord was pinpoint accurate. These headphones worked better for me on classical music.
CONCLUSION If you want a tizzy and OTT top end then don’t look
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at the DCA, and if you want a Stax sound then you similarly need to look elsewhere. Everything on the Corina is so well-controlled and musical that within a few minutes I just didn’t want to take these headphones off my head. The tops are still there, only they are as they should be listened to and not blaring out into your head. Similarly, the mid band is smoother and much more musical than I have heard from any headphone. You might need to turn the wick up a little to get the best volume but these are such damn good transducers of music and speech that I think Dan Clark has got a winner here and worth the extra price over the previous Dan Clark high-end cans I have tried.
AT A GLANCE Build Quality: Expertly assembled and looking very expensive Sound Quality: Exceptionally musical performance particularly mids and tops, and working with all types of music, though I preferred vocal and classical
Value For Money: £4800 is not cheap for ear speakers, especially when you also need a Stax or equivalent 580V pro bias amp to get them working, but for the performance you get they are certainly stiff competition to Stax We Loved: Excellent soundstage Mid-frequency detail Transparency at the top and no tizz in sight We Didn’t Love So Much Some may find the controlled and gentler top end not what they are used to Elevator Pitch Review: I always enjoy reviewing products from Dan Clark Audio. His headphones never fail to give detail and warmth which makes for a very musical listen. The new Corina electrostatic headphone was no exception, and quite different to the Stax ear-speakers I am accustomed to. Price: £4800
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HiFiMAN DEKONI COBALT HEADPHONES
Oscar Stewart takes a listen to the HiFiMAN Dekoni started out making earpads for headphones, offering a very Dekoni Cobalt headcomprehensive catalogue of different pads for different brands, in various materials. The design and material of an earpad greatly influence phones costing £499. the sound of a pair of headphones, and Dekoni was one of the few The Dekoni Cobalt headphones come nicely packaged and with two sets of interchangeable earpads to tune their sound to your own preference.
companies out there offering premium replacement parts.
A few years ago, they teamed up with Fostex for their first headphone release the Dekoni Blue, based on the T50RP but with tweaked baffles, blue cups, and Dekoni Hybrid earpads. Fast forward to 2023 and they have teamed up with Hifiman for their next headphone release. Now, like Fostex, Hifiman are well known for their planar magnetic headphones but the Cobalt uses a dynamic driver in a closed-back design. This driver has a carbon coating and the coating can be applied in specific areas to allow extreme fine-tuning of the sound, and the overall sound in these was tuned by Dekoni’s own engineers. I know Hifiman can make some excellent headphones, but a closedback dynamic driver headphone is something a little different for them, so let’s see how they sound.
BUILD QUALITY AND DRIVEABILITY The Dekoni Cobalt is built to be lightweight yet durable. The earcups are plastic but don’t feel flimsy, with a 3.5mm socket on the bottom of each for the detachable cable. The cable itself is a standard rubberised copper cable that goes from a single 3.5mm jack to dual 3.5mm jacks at the headphone end. A 3.5mm to 6.3mm jack adapter is included. Dekoni opted for a heavily padded headband which feels great. The headband yokes are metal and have a certain amount of swivel built in for comfort. Out of the box they have Dekoni Fenestrated sheepskin earpads fitted, as this is the earpad Dekoni chose for their preferred
Reviewed by Oscar Stewart
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sound tuning. The first 1000 units will also include a pair of Dekoni Elite Velour earpads for additional sound tuning.
Overall, the build quality is good, they don’t feel overly premium or substantial, but the lightweight build does help when it comes to comfort. There is a nice mix of plastic and metal and the headband padding is very good, I can’t find any weak spots and they do feel built to last. Rated at 16Ohms and 101dB sensitivity these are not the hardest to drive, however, the 45mm drivers do benefit from a little power behind them to keep them controlled. I did find them to sound slightly fuller out of a proper desktop amp (Singxer SA-1), but most DAC/Amp combos and dongles should do them justice (they sound great with the iFi GO Link for example).
COMFORT AND ISOLATION As mentioned, the Dekoni Cobalt is a lightweight headphone that really does help when it comes to the comfort of a pair of headphones. The Fenestrated Sheepskin earpads are also key to making these an incredibly comfortable headphone for long listening sessions. The holes in the earpads help keep your ears cool, despite the headphones closed-back nature, and the memory foam inside the pads provides excellent cushioning and conformity around your ears. Generous headband padding provides a good distribution of weight on top of your head, preventing hot spots. I found the Dekoni Cobalt to be extremely easy to wear, and listen to, for hours on end – perfect for those who need some kind of isolation for all-day listening sessions. In terms of isolation, they are not like a studio headphone that blocks out a sizeable chunk of outside noise, instead, they dull keystrokes slightly from keyboards and you can still vaguely make out voices with music playing at a normal listening level. To be honest, for what these are designed for, this makes sense as you’ll likely still be able to hear someone trying to get your attention or ringing your doorbell. They still offer up an ok level of noise reduction to reduce distractions from outside noise.
So no, they’re not a heavily isolating closed-back headphone, however for office work and working from home they do a good job. They do leak a bit of sound, so they would not be the ideal partner for late-night listening next to someone. SOUND For the first part of this review I left the Fenestrated sheepskin earpads on the Cobalt. There are two qualities that are immediately apparent on the Dekoni, and those are detail retrieval and the soundstaging, both of which are excellent. The Dekoni Cobalt are not designed for those who want a healthy dose of bass added to their music, these are a very controlled pair of headphones that aim to present the bass in a more honest way. They are, however, not lacking in depth and extension, playing Leftfields Melt for example really shows the quality of bass on offer. The deep bass notes sound full and engaging providing a solid foundation to the song, whilst the synths are allowed an impressive amount of space to float around the mix with great accuracy. These, however, for me, are all about the midrange and the way they cut through the mix with excellent clarity. They are a slightly mid-forward-sounding pair of headphones, which means vocals and guitars never get lost in the mix; they are not, however, overly dry or analytical in terms of their presentation and I found myself really listening to the lyrics of the tracks I played through them. Beautiful Bodies – September 1973 is a track I’ve listened to many times, yet with the Cobalt I “got” the lyrics. Allowing me to hear every single word, the Dekoni’s inspired me to find out what the song was written about – this to me is testament to how they make you appreciate songs with deeper meaning. Putting on something heavier, Like Moths to Flames, I found the Cobalt did lack a bit of impact to really grip the recording and deliver it with the energy required; these would not be my first pick for heavy music. Buena Vista Social Club happened to pop up next though and this kind of music really highlights the Cobalt’s strengths in terms of separation, accurate stereo imaging, huge soundstage for a closed-back headphone, and the overall balance of the sound. The piano sounds just right, keeping you engaged whilst you listen out the for subtleties in the recording and imagining yourself there in the
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room with the musicians. It’s no secret that I’m a sucker for female vocals, and Gabrielle Aplin sounds absolutely stunning through the Cobalt - every breath, every little detail audible, with tons of space to separate the different elements in the recording. Less-than-perfect recordings can come across a little brash and there is a slight steely quality to the upper midrange/lower treble that can sound a little grating with certain songs. The Cobalt are not what I would call a natural choice as an all-rounder, but if you have a good collection of headphones they easily fit in and work extremely well with the right music. They could sound a little fatiguing to some and there is a slight thinness to the sound that makes them unsuitable for general mixed listening at times, but put on some vocal, acoustic, jazz, soft rock, or chilled-out electronica and they are incredibly enjoyable.
earpads on these very often. Personally, I prefer the feel of Velour over Leather, however, the Fenestrated leather pads are very comfortable. The sound on the other hand becomes less rich and thinner than with the Fenestrated Sheepskin and I can’t find this particular sound signature working for most people, and you can tell the cans have been tuned with the Fenestrated earpads in mind. The bass is less articulate and the vocals take a step back and they sound more distant with the Velour earpads. There is a dip that makes the upper midrange a little less forward, but the trade-offs in body and lower midrange presence don’t make too much sense unless you only listen to well-recorded acoustic and jazz.
VELOUR EARPADS COMPARISON
I understand that Dekoni wanted to give people the chance to have two different sound signatures by including the different earpads, but they do only work with specific genres and personally, I would leave the Fenestrated Sheepskin pads installed.
Now let’s try out the Elite Velour earpads that are included with these. The earpads are not the easiest to remove and the clips can be a little fragile which isn’t ideal, but, then again, I don’t see people rolling
The Dekoni Cobalt are not neutral headphones and they’re not tuned for absolute accuracy, however,
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they have a dynamic and articulate sound that is slightly mid-forward and works well with music that relies on a good midrange (A lot of audiophile music fulfills this definition). They don’t have particularly impressive slam or punch, yet they dig deep when called for and there is a wide and deep soundstage that contributes to excellent space and separation.
Sound Quality:
These are not a natural all-rounder, yet they would easily fit into a headphone collection and bring an excellent listening experience when using the right music. I found female vocals, acoustic and chill-out electronica to be particularly enjoyable.
For the price you do get a well-tuned, closed-back headphone that sounds excellent with the right music
I am awarding these four hearts with the caveat that they are not an all-round headphone and they are best suited to certain genres of headphones. If you listen to these genres as outlined in the review, then I recommend you give these a listen as they are very good!
The clarity, separation, and midrange presentation
AT A GLANCE
Elevator Pitch Review: The Dekoni Cobalt are excellent for listening to acoustic and more laid-back music, bringing focus to vocals and guitars. They would make an excellent addition to an existing headphone collection, providing an impressive level of detail and a spacious soundstage
Build Quality: A lightweight mixture of plastic and metal that is well finished
Slightly mid-forward with great sounstaging Detailed, but occasionally a little thin Value For Money:
We Loved:
We Didn’t Love So Much: They can sound a little thin, borderline harsh at times
Price: £499
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HiFiMAN SVANAR WIRELESS HEADPHONES
HiFiMAN Svanar are a wireless headphone costing $499 that aim to bring an audiophile The Svanar Wireless aims to bring an audiophile level of sound quality with wireless convenience – do these succeed, or are they just another level of sound but with good true wireless earphone? the convenience of a FEATURES AND BUILD QUALITY wireless design. Oscar The Svanar Wireless have HiFiMAN’s R2R custom ladder DAC built into Stewart tries them out the chipset, which also includes a separate amplifier stage to power them. The drivers are made with their “topology diaphragm” technolofor HiFi PiG gy which allows fine-tuning of the driver by placing a nanoparticle layHiFiMAN has been in the industry for many years now and has built up a reputation for making some incredibly fine-sounding headphones, along with a good range of earphones. The Svanar Wireless are their flagship true wireless model using their proprietary “topology diaphragm” which places a nanoparticle coating on specific parts of the diaphragm, allowing incredibly fine-tuning of the sound.
er on certain parts of the diaphragm itself. These run on Bluetooth 5.2 and support the LDAC codec, which allows for near-CD-quality levels of audio resolution to be transmitted via Bluetooth. They have a claimed 15m transmission distance, 4hrs battery life in HiFi Mode, and 6hrs in ANC mode, along with an extra 3 charges provided by the case. They have the tech inside to offer up a high-quality listening experience and a lot of attention has been paid to the transmission quality as well as the decoding, amplification, and driver – even if that means slightly lower battery life than some competitors. A note on transmission distance; I found that when using them with my phone transmitting LDAC there was the occasional split-second dropout at times – this was when my phone was in my front jeans pocket. The signal is not quite as solid as some earphones out there, and something that could be improved in my opinion. In use I found the quoted battery life to be fairly accurate, of course, this is volume dependent, but you can expect around 4-5hrs out of them in HiFi mode (my preferred mode). The case is very well designed and allows you to fit the earphones in with any of the included
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eartips attached.
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Touch controls are used to control playback on the Svanar Wireless – single touch to play/pause, double click on either to answer or end a call and to skip to the previous song, triple click on either to skip to the next song. Press and hold the left for 3 seconds to switch between HiFi / ANC / Transparency modes, and press and hold either side to bring up your voice assistant/reject a call. There is no way of changing the volume via the touch controls which is a shame, but I did find the touch controls to be accurate in terms of sensitivity. Build quality wise the case is sturdy but quite large, easier to store in a small bag than it is in your pocket. The case is plastic with a metal hinge and the earphones themselves are plastic on the outside and quite large, with a carbon fibre inner faceplate which is used for both sonic properties as well as comfort/weight. For the price, I would say the silver finish of the plastic on the earphones doesn’t scream high quality however, the sound quality does make up for this.
COMFORT AND ISOLATION The Svanar Wireless are very lightweight but, the shells are on the larger side, which means those with larger ears will have a slightly sleeker fit than those with more narrow canals and smaller ears like me. I did find my ears to become a little tender after longer listening sessions, due to the size of the housings putting pressure on my tragus. They do stick out and look a bit odd in my ears, but with the right tips I did find them to be stable and they never felt like they were on the verge of falling out. These come with quite a large range of eartips, allowing most people to get a good fit out of the box. The closed nature of the Svanar Wireless means isolation is quite good, not quite the same level as some wired earphones, but more than enough for most daily use. I didn’t find myself ever requiring the ANC mode for most casual walking, although ANC can be very useful for public transport and flights. SOUND
I used the Svanar Wireless with my Google Pixel 6a phone which supports LDAC, I used ROON ARC when out and about which streams at 320kbps MP3, and Roon at home in lossless quality via Qobuz / local CD rips. I mainly used the Svanar Wireless in their HiFi setting as this really does bring out the best in terms of sound, but there will be a section on ANC. Transparency is a mode you only need to activate from time to time so you are aware of your surroundings. An excellent bass test track just happened to play when I sat down to write this review, Eat Static – Contact, and the Svanar Wireless had me bopping along to the beat. There is no one-note bass on these, they have a spacious sound with the ability to keep the focus on a driving bass beat that has both depth and punch whilst delivering the synths without any hint of muddiness or distortion. These are not bass monsters, but they do have an engaging presentation that brings out a lot of energy in the music. On other tracks, bass guitars are articulate and the lower region is both full-bodied yet well-controlled, never coming across as overly enthusiastic. These have a dynamic way of portraying the lowend, but in terms of the overall sound the bass never sounds like it is trying to become the centre of attention. They never lose track, yet never try to overwhelm the rest of the sound signature. For a wireless earphone they have excellent depth, never sounding rolled off in the sub-bass, and the ability to have such a grip on the bass whilst also being textured is impressive. The midrange is nice and clean and I would say these have a mild W-shaped signature which allows great focus on vocals and guitars. These make it easy to pick out harmonised vocals, and guitars have excellent energy when called for. There is a bit of an upper midrange peak which can bring out a hint of sibilance in certain tracks. Lucy Rose’s Be Alright played and the acoustic guitar sounds gorgeous and the detail retrieval is sublime. These are on the level of good wired earphones in this respect, but her vocals do get a little peaky in the upper midrange at times. Male vocals come across a little better in this respect with Panic at the Disco’s She Had the World coming across smooth and enjoyable. The Svanar Wireless do a very im-
pressive job at isolating vocals whilst still having that coherent single-dynamic driver sound. The upper midrange to lower treble is slightly accentuated which brings out a lot of energy in initial cymbal crashes, and makes these sound very upbeat. Every now and again though they will sound a tiny bit brash, and there is a little bit of harshness in this region, but this doesn’t show up on all tracks. Audioslave’s Like a Stone, for example, sounds tight and snappy in the treble region, and Chris Cornell’s vocals steer clear from becoming thin in that upper midrange region. You can clearly hear every snare hit, and every cymbal crash without them sounding too forward in this track. The quality is there in the treble, the tonality isn’t metallic and they don’t sound muted or splashy which is a common trait of Bluetooth earphones – Bluetooth compression and dull treble tuning usually means this kind of earphone is lacking in this area. Soundstaging and separation are both excellent. The Svanar Wireless have a wide soundstage for an earphone, let alone a Bluetooth one. They also come across with excellent control, allowing the sound to always be well separated and never congested. The Svanar Wireless are the first true wireless earphone I’ve heard that does not sound like it is a wireless earphone. These have excellent sound
quality that can compete with wired models, albeit at a lower price point. We have finally reached a point where you can get high-quality audio playback from a true wireless earphone. These have superb resolution, detail retrieval, extension, and control that you really do forget they are wireless from an audio standpoint.
ANC MODE ANC mode works well to dull out constant outside noises but it’s definitely not going to be as effective as some of the consumer models out there. This is useful for noisy commutes and flights, but for everyday use, I preferred to listen in HiFi mode. Sound quality-wise, the Svanar Wireless keep a lot of the traits of HiFi mode in ANC mode, however, there is an increase in bass presence and quantity, making them sound a little thicker and fuller overall. The soundstage is narrowed a little, there is slightly less air and detail in the treble and the bass does sound a little duller in terms of definition. ANC mode serves a purpose here, but Hifi mode really is the best for everyday use unless you use them in noisy places. Moving back to HiFi mode does feel a little like a veil has been lifted and the soundstage widens considerably.
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CONCLUSION
Open and spacious with excellent detail and control
I must congratulate HiFiMAN for making the first true wireless earphone that can compete with wired earphones when it comes to sound quality. These are the finest-sounding wireless earphones I have heard to date, with a detailed and open sound that is both revealing, yet fun and dynamic.
Value For Money:
The ergonomics are slightly lacking for me personally and the housings are just too big for my ears, but your mileage may vary. The Bluetooth signal is also a little poor, with the occasional dropout when my phone was in my pocket, but these are things that can and will vary depending on the user and device being used (turning off LDAC will help with Bluetooth signal strength for example).
We Loved:
I can easily recommend these if you want a lossless-sounding wireless earphone and don’t mind the size or low-ish battery life in return for superior sound quality.
AT A GLANCE Build Quality: A mix of plastic and carbon fibre shells and a solid charging case, they feel built to last Sound Quality: Fun, engaging and dynamic
These are a $499 wireless earphone and that’s a lot of cash, but you won’t find this level of audio quality in another wireless earphone - or one that I’ve tried yet
The fact that these do not sound like a wireless earphones, they have a believable sound that’s enjoyable The soundstaging is impressive for an earphone We Didn’t Love So Much: The comfort wasn’t great for me personally, due to the size and shape of the earphones Occasional Bluetooth dropouts Elevator Pitch Review: The Svanar Wireless give you lossless-like sound quality in a true wireless Bluetooth earphone, something I’ve not heard before. They are enjoyable to listen to with a punchy and dynamic sound that is also open and detailed. Price: $499
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WESTONE MACH 80 IN-EAR HEADPHONES
HiFi PiG’s resident HeadFi expert, Oscar Stewart, takes a listen to The MACH 80 is their flagship model, made to appeal to both audiothe Westone MACH 80 philes and the pro-audio side of things, easily being classed as a reference monitor. A successor to the excellent W80 V2 model, let’s see if in-ears. the MACH 80 carries on that age-old tradition of sound quality without Westone is well known in the industry, they were pioneers in the early days of custom in-ears for musicians and made the first in-ear stage monitors. Acquired by Lucid Audio in 2020 they continue to strive for the best sounding in-ears, continuing to make custom in-ears alongside universal fit models both for musicians and audiophiles.
compromise.
BUILD QUALITY AND DRIVEABILITY The Westone MACH 80 housings are made of smooth plastic, the two halves mated together quite seamlessly to create a rounded and attractive shape. The design is understated and they don’t stand out, with no fancy materials being used on the housings themselves. Moving on to the cable though, you get the superb Linum UltrabaX cable which is incredibly thin, lightweight, and ergonomic. It’s also robust and built to last, with an exceptionally low impedance of 0.6 ohms for minimal sound colouration. The cable terminates in an angled 3.5mm jack on one end, and T2/ IPX connectors on the other – these connectors are quickly becoming commonplace in high-end earphones as they are robust and resist oxidisation better than the old MMCX standard connectors. They are also smaller, so allow the earphone designers more options to incorporate the cable in a comfortable way. These come with an impact-resistant, quite large, pelican case along with a soft carry pouch, cleaning cloth, wax cleaning tool, and a huge variety of both silicone and foam eartips – a comprehensive list of accessories by anyone’s standards. The MACH 80 are a very well-built earphone, the T2 connectors are a welcome inclusion and they are so much better than MMCX in use; overall these should, based on previ-
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ous Westone models, last you a very long time.
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The Westone MACH 80 are a 66ohm earphone with a sensitivity rating of 104dB @1kHz meaning they are incredibly easy to drive, this doesn’t however mean they won’t scale up with a good source. These really will sound much better out of a high-quality source than a basic dongle, so make sure you treat them to a nice DAP or DAC/Amp.
COMFORT AND ISOLATION OF THE WESTONE MACH 80 IN-EARS I’ve long held the belief that Westone make the best-fitting universal earphones out there, and this doesn’t change with the MACH 80. Despite housing 8 balanced armature drivers per side the housings are small, discreet, and smooth. All of this contributes to an earphone that really does disappear in your ears once you find the right eartips – something easy to do when they include such a huge variety (5 pairs of Silicone and 5 pairs of Foam). The thin Linum UltrabaX cable also helps with the overall comfort and due to the construction, you barely feel the cable at all. These really are excellent earphones for wearing over prolonged periods of time. Along with excellent comfort, they also provide above-average isolation due to the fully sealed housing design. The use of balanced armature drivers means it is easier to have a fully closed shell, allowing for superior isolation and the included eartips and the overall design help with this too.
SOUND OF THE MACH 80s The MACH 80 contain 8 Balanced armature drivers per side; 2 for the bass, 2 for the midrange and 4 for the treble, in a 3-way design. By today’s standards, this may not look hugely impressive on paper, however, I believe tuning and implementation matter much more than quantity and driver type. Delving into the bass first we get an incredibly well-controlled and accurate-sounding lower end of the audible spectrum, yet there is plenty of body
when called for. The MACH 80 are not thin sounding, but they do present the bass in a more moderate way without drawing attention to it. Bass lines in songs are easy to pick out, kick drums have good impact, and the bass digs down into the sub-bass region without issue. It is however, always tight and never overblown, these are designed with a more neutral sound in mind and those who want a little more impact may want to look elsewhere. The Jay-Z & Linkin Park – Numb / Encore is a brilliant collaboration track and has a strong bassline to carry the song. The MACH 80 never lose focus of the bass and yet never present it in an overly strong or upfront manner either. There is absolutely no bleeding from the lows into the midrange, allowing the rest of the sound to cut through without any veil or smoothing. These may not appeal to those looking for a more dynamic bass presentation, however, if you want to hear every single part of the track these would be an excellent pick. Vocals are stunning, cutting through the mix with accurate placement and balance, and that’s what the MACH 80 are all about – balance. Nothing ever sounds like it is competing for your attention, instead, every single part of the sound comes across in such a clean and controlled manner that the overall sound is balanced and cohesive. Guitars have power when called for, bite when needed, and yet delicate acoustic fingerpicking is perfectly balanced with believable tonality.
I love Biffy Clyro’s – Unplugged at the Roundhouse, it’s an exceptionally well-recorded live album and I love the stripped-back nature of it. The MACH 80 really do sound like an engineer’s tool - get the mix sounding right on these and it will sound right on other equipment. You may as well be at the sound desk and with these having a direct feed from the stage when listening to this album, they sound that accurate. This level of accuracy won’t be to everyone’s taste, but I personally love how true to source they sound. They manage this level of clarity without ever sounding forced, and they also don’t have any peaks in the treble to try and increase perceived detail retrieval. Having 4 drivers for the treble may seem like Westone wanted to increase the treble presence, but don’t worry, they haven’t gone and made a bright-sounding earphone with boosted treble. These 4 drivers allow the MACH 80 to have excellent
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detail in the treble, but without boosting the quantity. They are smooth but don’t hold back if the mix is tuned wrong. Luckily most mixes sound resolving yet smooth, extremely airy, and well extended. The way they render snares is awesome, they are so snappy and cymbals are crisp and with excellent extension.
numbers on paper and fancy marketing language.
Aaron Gillespie is a superb drummer, so playing something from Underoath’s catalogue should easily highlight some of the excellent qualities of the MACH 80. I decided to go for Writing On The Walls – even with this dense-sounding track the treble is never lacking. It cuts through with such clarity and control without ever sounding bright or in your face - it is expertly balanced with the rest of the sound. With a good source and the right music, you really do realise how much some other earphones colour the sound, I know this is only Westone’s idea of a reference sound, but it is one that is wholly believable.
AT A GLANCE
For soundstaging and separation purposes, I thought I’d see how they handle 30 Seconds To Mars’ Kings and Queens, a track that has a few different effects in it. These never come across as congested, every single instrument is always easily audible in the mix. Then on to the soundstaging which is impressive from a sealed earphone, the MACH 80 have an open sound giving you a real sense of width, with some height too. They are true to source and present the stage as it is in the recording. It’s easy to place instruments within the soundstage, and the size of the stage does depend on the recording.
CONCLUSION Westone has stuck to what they know! There are earphones out there costing more, packing more drivers in, and giving you a more “wow” sound from out of the box. But none of that takes away the fact that the MACH 80 have, what I would call, a fundamentally correct and accurate sound. They sound natural, yet are incredibly resolving and revealing. Treat them to a good source and you will hear every little nuance and detail in your music. These are a tool, but they are also a pleasure to listen to if you like an accurate portrayal of your music. They will not suit everyone, but Westone has shown once again that making an earphone that is comfortable and has a realistic and neutral sound will beat
I am awarding these the highest award I am able, with Westone being given the opportunity to submit the MACH 80s for a second review by our editor for a potential Editor’s Choice award...yes, I think they are that good!
Build Quality: Plastic shells with T2 connectors They are very well put together and the Linum cable is an excellent addition Sound Quality: Neutral but not dry, a very natural and open sound that is revealing and allows you to hear your music as it should be Detailed and well-controlled. Value For Money: They may look understated and slightly boring, but the sound quality, build quality and overall package is not overly expensive in today’s market We Loved: The detailed and reference-like sound They remain smooth whilst being incredibly revealing We Didn’t Love So Much: Honestly, there isn’t anything not to love if you appreciate this kind of sound Elevator Pitch Review: The Westone MACH 80 are a superb reference monitor, perfect for listening to your music as it was intended to be heard. They might not appeal to those wanting a more exciting sound, but they have a smooth, balanced and revealing sound all wrapped up in an ergonomic shell. What’s not to love? Price: £1599
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JBL TOUR ONE M2 HEADPHONES
JBL is not a name you would necessarily associate with high-end audio (although they do make some good studio monitor speakers), and this review is of a product that is more consumer-oriented. Harman, who are owned by Samsung, do in fact own quite a few heritage brands in the audio world so when I got asked if I wanted to review the Tour One M2, I was intrigued to see how they sound. These are a consumer product, but the Tour name suggests that they want to appeal to those who have an interest in the audio quality, and not just the JBL brand name. The Tour One M2 are a Bluetooth overear headphone with ANC (active Noise Cancelling) and accompanying app that gives you control over the functionality and sound, but can they appeal to a wider customer base?
Oscar Stewart takes a listen to the JBL Tour One M2 headphones costing £279
FEATURES AND BUILD QUALITY The packaging of the JBL Tour One M2 seems to hint at a more sophisticated product, with the “Hi-Res Audio” sticker proudly on the front and key features listed on the back. They are not looking to appeal to teens who just want bass at the expense of fidelity, instead, they seem to want to appeal to businessmen who want a fashionable and yet great sounding headphone. The Tour One M2 feature a touch panel on the right ear cup to play/ pause music and skip tracks, a volume rocker button on the bottom of the right earcup, and the power/pairing switch above it. On the left earcup you have a button to switch between ANC/Ambient/ Passthrough modes and the USB-C charging port. There is a 2.5mm jack socket on the right earcup which allows these to be used in a wired mode. Battery life is quoted at 50hrs with ANC off, and 30hrs with it on, which is excellent. There is a fast charge too which allows for up to 5hrs playback off a 10-minute charge. Wired mode works with ANC on or off which is handy, and the Bluetooth supports multi-point connection to two devices.
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The JBL Headphones app allows you to fine-tune these headphones, and I was really impressed by how feature-packed they are for the price. You can change the level of ANC, turn Adaptive ANC off, and change what the touch panel and ANC buttons can activate/change. There’s a Personi-Fi EQ setting that tests your hearing and creates a custom EQ curve to boost/lower frequencies you are sensitive to or cannot hear as well. This little feature is becoming quite popular, and if you have trouble with certain frequencies, it can really help deliver a more complete audio experience.
stated and the JBL logo is featured in a much smaller font than on some of their budget models. These really do appeal to a different market, the sleek matte black finish and the subtle black-chrome accents look very classy, the headband is well padded and the earpads are comfy too. All the buttons feel good and the headband has metal inserts for strength. Honestly, they feel like a very well put together product.
There are also a few pre-set EQ profiles and the ability to create your own (it’s not limited to 5 bands either, you can add points at certain frequencies and lift or cut them) – Interestingly there is a “Studio” pre-set which looks to cut a bit of the bass, giving you a more linear sound based on the standard sound of these headphones. There’s also a Low Volume Dynamic EQ which boosts the bass and treble when listening at lower levels, sort of like the loudness button on older integrated amplifiers.
I personally didn’t have any comfort issues with the Tour One M2. The headband padding is sufficient to distribute the weight evenly and the earpads were deep enough to not cause any issues there either.
JBL includes a Spatial Sound setting creating a simulated “surround sound” like experience – with 3 levels, Movie / Music / Game. There’s also a smart talk feature that when you start talking it lowers your music and allows you to have a conversation without taking the headphones off, then continues to play the music once the conversation is over. Smart Audio Mode allows you to choose between Audio and Video mode, allowing for optimised audio quality for each type of media content. SilentNow is designed to help you sleep when traveling, activating noise canceling whilst turning off notifications and media sounds. Voice assistant can be set to Google, Alexa or device standard – press and hold the right earcup touch panel to interact with your voice assistant. You can turn off the voice prompts that tell you when you’ve changed a setting, along with being able to set a max volume limiter and configure the Auto Power Off time. There is a huge array of features in the app, some you will find yourself using, others not so much, but it is good that you can tune them to your personal preference. The build quality is great too, they are rather under-
COMFORT
These are closed-back headphones so your ears do tend to get a little warm at times, but overall I found them to be easy to wear for long periods of time. The clamping force felt just right, feeling secure on my head, but they never felt like they were clamping too hard. SOUND OF THE JBL TOUR ONE M2 HEADPHONES Let’s start off with how they sound in their default ANC-on mode - that’s the one most people are likely to use, in my opinion. These caught me off guard a little! I think most people in the audio world have the perception that JBL makes bass-heavy consumer products that won’t appeal to audiophiles in the slightest. These change that narrative for me - they do still have a slightly thick and warm sound, but there is real detail and depth, allowing these to offer up some pleasant surprises. This Wild Life – Roots and Branches is a heartfelt song from this acoustic duo and the vocals come through in earnest, with such beautiful tone and nuance. The guitars fill the space around the vocals and there is a lovely sense of warmth to the sound. Heavier tracks have great energy, there is perhaps a little too much body for those low-level listening sessions at home, but there is a sense of drive and fun to them that makes them more enjoyable when out and about. The great thing about this additional bump in the low end is that it doesn’t rob the midrange of presence, and the treble still manages to cut through the mix with good energy.
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Halestorm – Painkiller had Lzzy’s vocals still front and centre with thunderous bass notes that are punchy yet not too overwhelming, the distorted guitars are moderately crisp, and the treble is well presented with good space and extension. The new Skindred album Smile came out recently and the Tour One M2 really got me grooving to some of the more dub/reggae songs on the album. They present the sound in an engaging way that makes you simply enjoy what you are listening to instead of trying to nitpick. No, these would not be my first pick for epic orchestral music, but for general on-the-go listening and traveling I want something that’s fun, not boring. The slight added thickness to the sound is much less noticeable when you use these out and about, and the ANC does a very good job of drowning out external noises. The sound with ANC on is mildly warm, very engaging, and punchy with good detail retrieval for an ANC Wireless headphone. Turning ANC-off takes away a little bloom from the sound, and there is perhaps a slight reduction in overall warmth, but they still retain the main traits of the sound with ANC-on. This is quite pleasant as there are a few headphones out there that have wildly different sound signatures between ANC-on
and off. ANC-off really doesn’t bring anything to the table that would make me favour it over ANC-on during everyday listening (unless you’re worried about battery life). Ambient Aware works extremely well; you get the same sound quality but with the ability to tune (via the app) how much outside noise you would like to hear. Often this mode kills the sound quality but, on these they just allow you to listen with a bit of awareness, very helpful in certain environments. Talk through does what it says, essentially lowering the volume to barely audible and allowing you to have a conversation and hear the person you are talking to. EQ presets are admittedly, not something I tend to use but the Studio One had me curious, and to be fair it works. The Studio preset just cuts the slight bass bloom and offers up a more composed and linear sound signature. The slight toning down of the bloom allows the lower midrange to sound slightly less masked and they do end up sounding a little more neutral. For example, Ben Ottewell – Stone, another acoustic track with male vocals, really benefits from having that bass toned down. It allows his vocals to sound a
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little cleaner and less influenced by the bass region. The nice thing about this preset is that it really does only affect the bass and lower midrange, leaving the rest of the sound alone. They don’t lose their enjoyable and punchy sound, it just cleans it up a little.
I did also run the Personi-Fi hearing test and tried its custom EQ for my hearing. Whilst there was a slight increase in some treble notes, I didn’t find myself using that EQ in normal use. This mode can really help people with hearing loss at certain frequencies, and it is something that is not just a gimmick.
has great presence, and the treble is crisp and well-extended. These are not your typical “consumer” sounding product, so if you appreciate good sound and are looking for an all-rounder headphone, these should 100% be on your shortlist.
AT A GLANCE Build Quality:
Spatial sound really doesn’t do anything for me when listening to music, it sounds a little artificial and I think music still sounds best in stereo rather than a simulated surround. However, turning the smart audio & video mode to video and turning spatial sound to movie really did sound fantastic when watching some short movie clips on YouTube. Top Gun Maverick was immersive in terms of the sound performance, and Jurassic Park had excellent positioning and rumble – if you are planning to watch movies these work very well indeed.
Plastic with metal accents and faux leather headband and earpads
I decided to test them in wired mode with the iFi GO Link DAC/Amp dongle, and whilst it is very handy to have a wired mode, and the treble does come across a little more extended, the overall sound is better in wireless mode. Wired they sound quite bloated and lacking control and definition; these have clearly been tuned with DSP to work best in wireless mode.
Value For Money:
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The comfort and features
Well, coming into this review I didn’t quite know what to expect, but the Tour One M2 have really impressed me. They are not the last word in refinement or utmost fidelity, but they are brilliantly enjoyable.
Very well-finished and sleek too Sound Quality: Full and warm, but with good detail retrieval and presence Engaging and punchy, perfect for everyday listening
The features and sound quality more than justify the price tag We Loved: The fun yet detailed and open sound
We Didn’t Love So Much: Slight bloat in the bass and poor sound in wired mode
ANC is very effective and the spatial sound works wonders for movies, yet for everyday listening and traveling the sound quality is surprisingly good.
Elevator Pitch Review: The JBL Tour One M2 shows that JBL can make a great-sounding wireless headphone. These are not for the bassheads out there, the Tour One M2 are more sophisticated than that, and sound excellent for a wireless headphone with ANC. They’re packed full of features without sacrificing the overall sound quality, which is punchy and engaging, yet detailed at the same time. Suffice it to say, I am thoroughly impressed by what the Tour One M2 have to offer.
Bass is full and punchy, the midrange is clean and
Price: £279
The sound has a slightly full and warm tonality that is fatigue-free and engaging, the Studio EQ preset tightens up the sound if you like, and there are a ton of other features in the app.
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STAX SR-003MKII HEADPHONES & SRM-D10 DAC/AMP/ENERGIZER Stax are now part of Edifier Global and have been one of the pioneers in the electrostatic audio world. Known for making excellent electrostatic headphones, energizers/amps, and earphones; this portable combo allows you to experience that signature Stax sound “on the go” (more on this later).
STAX SR-003MKII HEADPHONES & SRM-D10 DAC/AMP/ENERGIZER
FEATURES AND BUILD The SRM-D10 is a portable electrostatic energizer, amplifier, and DAC outputting pro-bias (580v) out of a transportable device. It has an internal DAC (fully DSD compatible up to DSD128) that is fed from micro-USB (USB-C would be much nicer) along with an analogue 3.5mm jack input, standard 5-pin output, and an internal battery. The internal battery life is rated at around 3.5hrs when using the internal DAC or 4.5hrs using the analogue input, but this will vary slightly depending on the volume and headphones used. The battery charges from an AC plug, not USB. The SR-003 MK2 use a new driver that is lighter in weight giving them an improved transient response, finer resolution, and increased transparency; they also have new eartips with 3 sizes included in the box. They are designed to be listened to open-back and have a headband should you wish to have a more secure fit. They come with covers to convert them into closed-back earphones too, these are not really designed for portable use though and are better for stationary listening, thus being open-backed isn’t usually an issue. They come with a standard Stax 5-pin cable and run-off pro bias outputs. Build quality of the SRM-D10 is superb, aside from the micro-USB it is a solidly built portable DAC/amp/energizer. The volume control/on-off switch is smooth and a pleasure to use, there is some heft to the unit and it feels like it is built to last. The SR-003 MK2 headphones also feel well-built. They are mainly plastic to keep the weight down but they are well put together and anyone buying these would, in my opinion, know how to look after them. There is a grill between the eartip and nozzle but the openings are quite large, so keeping them clean would be advisable to keep them
Reviewed by Oscar Stewart
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running well. The flat cable is thin, but I do not see any issues with it if these are looked after properly, there is good strain relief where needed.
COMFORT OF THE STAX SR-003 MK2 The SR-003 MK2 are unusually shaped, which is to accommodate their larger electrostatic driver, however when used with the right tips they fit just right without falling out. The housings are lightweight which helps a lot, but these are not designed for active use. I found them very comfortable without the headband, but I found the headband caused some discomfort after a while so I opted to remove the earphones from it. It is great to have the option though and I can imagine some will prefer the more secure fitment of the headband. To me, it is clear these are more designed for athome use due to the fact they sound best openback, and the SRM-D10 has limited battery life. This would also suit those who travel and want an excellent-sounding travel setup to use when stay-
ing in hotels, for example, or someone who wants to take their setup out into the garden for a couple of hours. Whilst it is technically “portable” I would classify this as transportable and something that can be transported between locations rather than for use on the go.
SOUND QUALITY I’ve been using this combo for a bit now and have been getting to know it well. I’ve mostly used it via the USB input playing from Roon on my PC. Electrostatic systems are something I’ve experienced on quite a few occasions and I appreciate some of their traits, whilst others don’t appeal to me so much. Here we have an earphone setup that can be moved between rooms and listened to without the weight of over-ears. It is a system that has a very complete and open sound that does not sound like you are listening to a set of in-ears. These compete with good headphones in my opinion, and the SRM-D10 has plenty of power to drive these to unlistenable levels. Like many electrostats, these are quite genre-de-
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pendent and they will, in my opinion, sound best with certain genres and not-so-great with others. These are not a natural all-rounder, but they do have a well-balanced sound that comes across with natural tonality and a hint of warmth. I think it’s something to do with the dynamics, but most electrostats don’t seem to do very well with anything heavy, or that requires a good amount of impact and punch. Where these really excel is when you play something acoustic, Lights’ – Almost Had Me from the Skin & Earth (Acoustic) album is jaw-droppingly good through this little setup. Every finger sliding across the strings is easily audible, the reverberation from the guitar is as full and warm as it should be, and her vocals sound pitch-perfect. This kind of music is where you really hear the voicing behind these headphones and I think they were made for acoustic, jazz - softer music that you can sit back and
get lost in the beauty of it. There is a lovely sense of space and air around each instrument, creating a realistic soundstage that is enveloping without sounding diffuse - echo effects trail off smoothly and there is no lack of extension in the low or high end. There is a high level of resolution and low-level detail is presented very well and you can easily distinguish each part of the recording. A little secret, I’m a sucker for certain musicals, and The Phantom Of The Opera is one of my favourites. I have the soundtrack from the film (I know it’s not to everyone’s taste) but the duet during Past The Point Of No Return sounds excellent through the SR-003 MK2. It seems the midrange is a strong point, but it is backed up with a full low end when called for their ability to handle switches from large orchestral pieces to soft vocals is most impressive.
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One of my favourite test tracks is Deolinda – Passou Por Mim e Sorriu (ao vivo no Coliseu dos Recreios) and this little system passes with flying colours. You can hear the acoustics of the hall, the double bass is deep and controlled, and everything comes across as unforced and is presented in a very natural way.
As I stated earlier, these seem to favour those softer genres and moving on to something like Saosin – Some Sense of Security they do an admirable job, but they do sound a bit flat with this kind of rock music. It’s interesting as there is plenty of body and dynamics for orchestral music, but rock seems to just lack urgency and punch, the midrange is still rendered nicely though. City and Colour – Commentators on the other hand sounded great again with a nice open sound with effortless treble extension and a nice warmth to the sound. There’s a good balanced between being revealing and being enjoyable - they’re not overly clinical which means it’s easy to just sit back and enjoy the music with these. The SR-003 MK2 render textures in acoustic and softer folk music perfectly, making them a match made in heaven for these genres. To me this is the reason why enthusiasts have different earphones/ headphones, as each has their area of expertise, whilst some do make good all-rounders. The SR-003 MK2 with the SRM-D10 would fit very nicely into a collection for those times you want a snappy and tonally true performance from real instruments. I absolutely love the way these render both male and female vocals and their ability to sound very open and spacious, something most earphones struggle to do.
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are not tuned to get you dancing around the room, or get you headbanging, but they do what they are tuned to do exceptionally well. The SRM-D10 powers the SR-003 MKII with ease and is a lovely little transportable DAC/Amp for Pro-Bias electrostatic earphones and headphones and I think this is well worth looking into if you don’t want something you can’t move to another room.
AT A GLANCE Build Quality: The SRM-D10 feels very solid, but USB-C would be better than Micro-USB The SR-003 MKII are plastic but well built, the construction keeps their overall weight down which is good for the comfort side of things. Sound Quality: These have a very natural and open sound with softer genres, they do however lack a little urgency and dynamics with heavier music Value For Money: The level of sound quality you get from this small setup for the price is very impressive, one that is usually reserved for high-end over-ears. We Loved: The midrange is simply stunning, they are easy to fall in love with sonically. We Didn’t Love So Much:
Whilst these may not be the most ergonomic earphones, and they have design limitations that mean their use case is also quite limited, they do offer up stunningly good sound with the right genres. Keep it smooth and you will be greeted by a natural and spacious sound with excellent detail retrieval and snappy transient response. Overwhelm them with heavier genres or anything overly bass-heavy and they do sound a bit thin/lacking dynamics and punch.
Not the most versatile earphones, lending themselves to certain genres and not others.
These are for kicking back and relaxing with, they
Price: $2250
Elevator Pitch Review: If you are looking for an earphone that will sound breathtakingly good with softer genres, then the SR-003 MKII + SRM-D10 combo is well worth looking at. Designed with “portability” in mind, you can take this setup travelling, or around the house, and get that tonally realistic and responsive electrostatic sound Stax is well known for.
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SENNHEISER HD660 S2 HEAPHONES Sennheiser is one of the oldest names in the audio industry, making everything from microphones to high-end headphones such as the HE-1 system. The 600 series of headphones have always had a strong following with the HD650 and HD600 being used by audiophiles and studios across the world. The HD660 S2 follows on from the HD660s’ success and promises to address their shortcomings, they also strive to be one of the best headphones for under £500 – so how good are they?
BUILD QUALITY, FEATURES AND COMFORT OF THE SENNHEISER HD660 S2 The HD660 S2 has similar build quality to the rest of the HD600 series with simple yet effective design choices and materials. The headband is plastic and reinforced with metal where needed, the arms and cups are plastic and the open-backed grilles are metal. There is subtle Sennheiser branding throughout and this time it’s printed in a rose-gold-like colour, the cable is detachable and uses the same connectors are the rest of the series. The 2 included cables are well-made and rubbery, they have good strain relief and I’ve personally seen these cables last a long time. The earpads are velour and, like most of the parts on the headphones, are easily replaceable when they eventually wear out. The overall build quality is excellent and knowing that you can replace parts is always reassuring, if they’re anything like the HD600 and HD650 then these will happily last you many, many years of use. Feature-wise you get 2 cables with them, one that’s terminated in a 6.3mm single-ended cable and another that comes with a 4.4mm balanced connector. You get a 6.3mm to 3.5mm adapter should the device you are using only have a 3.5mm output, and there is a small carry pouch included to keep them dust-free when not in use. These are open-backed headphones and do not isolate from outside noise, the impedance is up from 150Ohms to 300Ohms for the S2, indicating these do use a slightly different driver to their predecessor.
The Sennheiser HD660 S2 Headphones cost just under £500 and in this review for HiFI PiG, Oscar Stewart puts them through their paces.
Reviewed by Oscar Stewart
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A quick note on the impedance of these headphones, they are rated at 300Ohms and 104dB @1Vrms which does mean they are going to sound their best out of a dedicated headphone amp. It doesn’t need to be an overly powerful amp, but a desktop source will get the best out of these. Also, that magical 300Ohm impedance means these will work well with OTL valve amps, something the HD650 and HD600 both work exceptionally well with.
Comfort-wise, the material and shape of the earpads make the HD660 S2 a very comfortable headphone in use, they clamp to your head fairly firmly straight out of the box but usually don’t take too long to loosen up a little in use. The headband is well padded and the headphones are designed to be quite lightweight. The included cables are nice and flexible and all of this adds up to a headphone that is easy to wear for an evening of listening to your favourite tracks.
SOUND QUALITY It’s been a while since I heard the original HD660s so I’ll try not to compare the two much, but I do recall them being a little brighter sounding and lacking a little sub-bass extension. The HD660 S2 has a more even lower treble region, and better sub-bass extension, making them very easy to listen to headphones. Most of my main testing was done with the SMSL D6s DAC into the iFi Audio iCAN PHANTOM > 4.4mm output into the HD660 S2, but I also tried them through the Miltra OTL-8XT valve amp. Eat Static – Uforic Undulance has a deep pulsating bass line during the intro, something you feel more than you hear, and the HD660 S2 manages to pull this off brilliantly, you can feel the pressure changes from these bass tones at normal listening levels. The swirling synths are easy to follow and there is good soundstaging, allowing you to locate each sound with ease. These are not the most punchy and dynamic headphones for electronic music like this, but they are enjoyable and keep control of the different elements of the track. I always seem to manage to include a Lights song in my reviews, they seem to pop up at the right time and I’ve heard her vocals through so many systems, as well as seeing her live, that I feel I know how she should sound. And Counting… is quite a slow, brood-
ing song, and through the HD660 S2 you may as well be in the studio during the vocal tracking in my opinion – you can hear every minute detail through these. The midrange is excellent and manages to sound very natural in its tonality, there is a very good level of separation allowing the midrange to always cut through the mix with authority. I would say these are mildly mid-forward headphones - they sound fantastic with both male and female vocals and are very smooth when listening to acoustic, without missing out on the detail. They do, however, hold up well when it comes to the rest of the sound, out of a solid-state amp you end up with a slightly dry presentation in the bass region which does make kick drums sound a little flat, but bass guitar lines come across with good articulation and body. Snares are snappy, electric guitars have good crunch when required, and the treble is crisp and well-extended. The Appleseed Cast – Blind Man’s Arrow. For this track I put the iCAN PHANTOM into Tube mode, this imparts a hint of valve magic into the sound and made this song come alive. There was excellent separation between the different guitar lines, kicks had a slightly fuller impact, and the treble was beautifully presented. This allows the HD660 S2 to deliver every tap of the cymbals without bringing them forward into the mix, they allow you to hear the finer details in the treble without drawing your focus to them. Moving on to the Miltra OTL-8XT I found the sound to be a little fuller and warmer, but without taking away the excellent detail retrieval of the HD660 S2. CHVRCHES – Killer sounded full and yet well controlled, the bass doesn’t sound bloated even though it has slightly more presence. The vocals, once again, stand out beautifully with their accuracy and tonality, there’s a realism to them that is incredibly enjoyable. The treble maintains its crispness and still extends with ease, rounding off an excellent sound signature when used with valves. Dashboard Confessional – The Best Deceptions (MTV Unplugged), the warmth and body from the acoustic guitar are beautifully rendered by the HD660 S2, yet his vocals cut through with the raw emotion he’s known for. Every fingertip sliding up the fretboard, every strum of the strings is raw yet real, there’s no glossing over of details but, these are also not a microscope wanting you to pick out
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The HD660 S2 is a very complete and easy to listen to headphone, they are great for many genres but perhaps lack a tiny bit of dynamics when it comes to the heaviest of metal and hardcore electronic music.
QUIBBLES The clamping force is a little tight out of the box.
Build Quality And Features: Built to last, most parts are easily replaceable 2 cables, 1 x 6.3mm single-ended, 1 x 4.4mm balanced Open back with comfy velour earpads 300Ohm makes them a great match with valve amps Sound Quality:
Whilst they do well with most genres, they are not the punchiest headphones for more dynamic genres.
Smooth and fatigue-free
CONCLUSION
Open and well extended on both ends
Natural and expressive
The HD660 S2 does fix a lot of the issues people had with the original - there is better sub-bass presence and the treble is a little more linear. They are still a Sennheiser though, and they do still have a slightly dark sound signature. I cannot fault these when it comes to realism in the midrange and their beautiful way of rendering acoustic music, but when it comes to music that’s a bit punchier, they do sound ever so slightly flat.
Value For Money:
These are real easy-listening headphones, they provide a very natural and easy-to-like sound that excels when listening to acoustic, softer rock, jazz etc… They do not have a studio flat response; they have a slightly mid-forward sound that is backed up with a full and solid bass response and well extended yet fatigue-free treble. The sound staging is great, they go for a slightly more intimate presentation that sits you right in front of the stage with excellent width.
Great comfort for long listening sessions
I’m impressed that Sennheiser nailed the sound description on their website – “Enjoy your music on a completely new level. An intimate, relaxed sound signature combines with outstanding precision and exceptional comfort — and now, extended sub-bass — for a deeply moving experience.” If you do fancy these, I also recommend testing out a nice OTL valve amp with them, personally, I feel that valves bring these headphones to life a little.
For under £500 you get a very likeable headphone that’s natural sounding and comfortable, which makes them very good value in today’s market. We Loved: The natural and smooth sound signature
We Didn’t Love So Much: Slightly high clamping force out of the box Sound a little flat out of some sources with punchy music Elevator Pitch Review: The Sennheiser HD660 S2 are superb sub-£500 headphones! They give you a natural and real sound with great extension from top to bottom. They are such easy to like headphones that rarely put a foot wrong, and for that reason, I can easily recommend these for their price. Price: £499, 599 euros
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Fiio M15S DIGITAL AUDIO PLAYER
Fiio are a name synonymous with personal audio and in this review, Oscar Stewart takes My experiences with Fiio date back many years and, for me, have always managed to make products that give you excellent playback a listen to their M15s quality for a reasonable price. The M15s is one of their latest DAPs and comes in at £979, this model is designed for playback on the go and DAP. comes with a stand for use as a DAC/Amp at home too. This isn’t their Fiio does not really need much of an introduction, they are a big name in the portable and personal audio world and have been making audio products for a few years now. Founded in 2007 they quickly became known for making excellent digital audio players (DAPs) but they also have a range of desktop DAC/Amps, headphones, earphones, and accessories.
flagship model, but it does aim to provide the best combination of both portability whilst maintaining a suitable desktop power output.
FEATURES AND BUILD QUALITY It’s hard to know where to start with such a versatile device, but let’s start with the operating system. The M15s runs on Android 10 and whilst this isn’t the most up-to-date OS it still supports all the current streaming apps. The Android operating system gives you some flexibility to allow you to install apps should you wish to use this for streaming duties around the home, or download playlists for offline playback. It also means the settings menu has all the features you could want in an easy-to-navigate system. The M15s has 6 operating modes: Android, Pure Music, AirPlay, USB DAC mode, Bluetooth Receiver, and Roon Ready – these all do pretty much what they say. Pure Music mode is best for playing back local files without unwanted background processes, Android mode gives you an Android-focused UI, Airplay allows you to stream from your Apple device to the M15s for better quality playback, USB DAC allows you to use the M15s as an external DAC/Amp, Bluetooth receiver mode supports Bluetooth 5.0 SBC/AAC/Aptx/Aptx HD/Aptx LL/Aptx Adaptive and LDAC allowing the M15s to act as a high-quality Bluetooth receiver and Roon ready sets the M15s as a Roon endpoint allowing you to stream to it via Roon in your home system.
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On the bottom you have a tray for a micro-SD card; the onboard storage is only around 46gb once the OS is taken into account, so a micro-SD is the best way to store local music files. You also have the USB-C charging port on the bottom which is also used when in USB DAC mode. When charging via a QC/PD fast charger the M15s can increase its power output by 21% due to using a higher voltage power supply internally – excellent for powering harderto-drive headphones. In desktop mode, you can turn off charging, which is handy for protecting the battery. On one side you have playback buttons (FF, RW, Play/Pause and Power), on the other, you have a hold button, volume up/down and a multi-function button that allows you to change the operating mode. On the top you have a volume wheel (you can choose between the wheel or buttons for volume control) along with the outputs (3.5mm single-ended, 2.5mm and 4.4mm balanced).
using the Pure Music mode you get all the usual playback features along with various digital DAC filters and gain settings. Browsing was easy and the physical buttons are well placed, the hold switch is a great addition meaning you won’t accidentally change the volume or skip tracks in your pocket.
The screen is easy to read and responsive, there are 5 gain levels which should suit most headphones and the balanced output can hit 1200mw per channel max output at 32Ohms. Internally the M15s uses a Qualcomm 660+ processor, QCC5124 Bluetooth chip and ESS9038 Pro DAC chip. There is a multi-stage power supply that allows for clean power that’s able to support both low and high-impedance loads and the audio data passes through FPGA with custom femtosecond crystal oscillators to provide a high-precision/low jitter unifier clock source for the entire audio architecture.
Battery life is around 9-10hrs – this should be plenty and it does support fast charging should you require a quick recharge on long journeys. Luckily being a DAP, it can charge and play at the same time, so it’s unlikely the battery life will ever be an issue.
The build quality is excellent! The main case is made from machined aluminium and internally there is shielding for the critical audio components. Fiio use Graphene technology for heat dissipation and the rear panel is made of glass, just like the front. It comes with a brown leather case for protection and there is a lovely metal backplate that is vented to keep the device well ventilated. Fiio has really thought about the design and features of the M15s to make it an excellent on-the-go portable player that also doubles up as a desktop DAC/Amp when needed.
USABILITY I mostly use a DAP for out-and-about listening duties, preferring to listen to local FLAC files ripped from CD over streaming from a phone and using a dongle. The M15s was a joy to use in this aspect,
I found myself preferring to use the volume knob for adjustment as it just felt much nicer to use than the buttons. The knob is linked to an encoder so you still get very fine volume control and the gain levels help in this respect too. There’s a light ring around the volume knob which you can decide how the colours change (based on codec, volume or others), you can set a max volume limit, and there’s balance control (great if you have imbalanced hearing) and you can set the outputs as fixed Line-Out or the normal variable headphone output – handy for integrating into a HiFi setup should you wish.
So, we’ve established that the M15s is quite a feature-packed DAP, but it can’t just be good to use, at the end of the day we want to know if it sounds good too.
SOUND I’ve been putting the M15s through its paces by using it as a daily player for my commute with my 64 Audio A6t custom in-ears and also using it at home with some full-size headphones, and I must say I am really impressed with its handling of music playback. The M15s has a way of sounding very convincing; it is not trying to show off by throwing technicalities at you, but it isn’t holding back and doesn’t sound veiled either. It sounds neutral, but not unnatural. It is effortless and has excellent resolution, but without sounding dry or analytical. The bass is rich yet well controlled, the midrange is clean and the treble is sweet yet well extended – it’s a sound that is enjoyable to listen to without sounding coloured as such. The M15s made me smile the other day; I was walking to work when Linkin Park/Jay-Z - Dirt off Your
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Shoulder / Lying from You came on through my 64 Audio A6t. The music was presented in such a fun way with excellent extension and air, instead of trying to pick apart the song I just got lost in the music. My old iBasso DX200 has always been my reference player, and it does sound a little more analytical, but also a little flat when it comes to dynamics. I plugged the Sennheiser HD660 S2 into the M15s via the 4.4mm output expecting to have to turn it up a little, yet with the volume at 50 and on lowgain I was getting good listening levels from them. It wasn’t just driving them; it was pumping out really excellent quality of sound from such a small player. The bass was deep and articulate, the midrange nuanced and the treble was airy. Listening to Deolinda – Bons Dias the acoustic guitars have excellent tonality, the double bass reaches low and the female vocals are rendered beautifully. I decided to see how the M15s would handle my German Maestro GMP400 headphones. These are a 300Ohm pair of full-size studio headphones – and whilst I prefer the signature with a good valve amp the M15s provided more than enough output to get them to listening levels with ease. I was really impressed with how the M15s handled these headphones, with great separation, control, and detail. Whilst these are not a full-bodied headphone, the M15s was outputting enough power for them to sound as good as when used with a few solid-state desktop amps.
sion in the future. CONCLUSION The Fiio M15s treads the line between being an utterly ruthless reference-sounding DAP, and one that is enjoyable for daily listening. The sound is perfectly balanced with great power and dynamics, yet it never sounds like it is trying to colour what you are listening to. It’s clean and punchy, it will let you hear all the detail you could want without sounding clinical and it works well with a huge range of headphones. It’s an incredibly versatile player that allows you to listen to locally stored music along with being able to stream, airplay and Bluetooth to it, or use it as a Roon endpoint. The included stand and the fact you can increase the output by using a QC/PD fast charger are great little added features. This will happily double up as a desktop source and work well in this role for a lot of headphone users. Honestly, the M15s is just a joy to both use and listen to, and I don’t think many would be let down by its performance, especially when you take into account the price.
AT A GLANCE Build Quality And Features:
Green Day – Jesus of Suburbia through the M15s and paired with my trusty Grado SR80 was such a blast; every kick is well separated, Billy Joe’s vocals well defined, and the crunching guitars had plenty of power. There is a sense of poise and control to the sound, yet the M15s still knows how to have a good time. This setup easily gets you tapping along, it is dynamically engaging yet perfectly balanced sound-wise, it’s easily a reference tuning, but one that is not boring.
Solid build quality
QUIBBLES
Punchy and dynamic
I don’t have too many quibbles with the M15s at all. No, it’s not the smallest DAP out there for daily use but then again you wouldn’t get this level of power or features from a smaller size. I guess the fact it is running on Android 10 is a little bit of a letdown, they really should update it to a newer Android ver-
Tons of features (Android, Bluetooth, Airplay, Roon, USB DAC) Multiple outputs (3.5mm, 2.5mm, 4.4mm) Excellent screen Sound Quality:
Clean and detailed Reference level tuning without sounding overly analytical Value For Money:
REVIEW
There are a lot of DAPs out there but the M15s does, however, represent great value considering it works well as a desktop source as well as a portable one. You might get a hint of extra detail and resolution from a costlier device but, this is the sweet spot where most people really wouldn’t ask for more from a sound quality perspective.
We Didn’t Love So Much: Running on an older version of Android A little bulky for some
Easy to use
Elevator Pitch Review: The Fiio M15s is pretty much all the DAP most headphone users need; it has got loads of power and sounds like a reference device without coming across as boring. It’s feature-packed and doubles up as a desktop source - what’s not to love?
Versatility
Price: £979 / $999.99 / €999
We Loved: Brilliant sound in terms of quality and output power
SO YOU WANT BE AN AUDIOPHILE? VERY FEW PEOPLE START OUT ACTUALLY WANTING TO BE AN AUDIOPHILE, SO HOW DOES THIS OBSESSION TAKE A HOLD? STUART SMITH FINDS OUT THE HARD WAY!
B
SO YOU WANT TO BE AN AUDIOPHILE?
arely anyone starts out wanting to be an audiophile, just like very few people really start out wanting to become addicted to booze or drugs. However, a shared listen to a new tune on a mate’s phone round the back of the bike sheds can soon lead to you to joining the other hopeless cases down the park after school where you will share your trip experiences and get your fix of whatever it is the pusher man on the radio is selling. Lightweight stuff! You’re still not addicted you will tell yourself, but in the dark recesses of your brain there’s a little grain being watered by every extra tune you listen to and every time it is watered it flourishes. It’s a good buzz and it seems to be doing no one any harm.
ing to music in private and hiding your download statements from your parents and yourself. You try to wean yourself off with illegal MP3 downloads and downgraded YouTube copies, but you want the fullfat, pure as the driven snow hi-resolution files…no, you NEED those hi-res files! Like the professional junky you have thought all this out and you have your own “works”, and you keep them in a special and safe place. Headphones and a little DAC in a nice pouch and that connect to your phone maybe - so you can appreciate the full power of the music and its effect on your body without wasting a single bit. And it’s all become a bit of a ritual for you. But you aren’t an addict (yet) you tell yourself. NO WAY! But then, like many things, the plant in your head has grown and its leaves, rather than soothing your mind are starting to scratch and itch when they aren’t satisfied and aren’t fed constantly.
You tell yourself those three days off are sacrosanct and that you won’t touch the hard stuff until the weekend
You’ve seen them, the older kids with their uniforms of whatever their drug of choice maybe. Goth kids in their black, children of metal with their hair and leather, techno kids in what would at first appear to be just normal clothing but look a little closer and it’s clear what they are mainlining. And so it happens, you are befriended into the group, and you are asked out to the gig/rave by a group of the hardcore addicts. And then you feel the rush. The dopamine kicks in and that little seed thinks all its birthdays have come at once and Daddy’s bought it a whole load of miracle grow. The shoots of that germinating little seed are spreading and the music is taking hold. You say you can give it up any time and that it was just the once. But next weekend you are there again like the junky as the sun rises searching for their next fix and you hit it again and then again and again until the weekend becomes a four-day affair and normal life is confined to three days of the week. You tell yourself those three days off are sacrosanct and that you won’t touch the hard stuff until the weekend. But the now flourishing plant in your head has different ideas and lets itself be heard at the back of your mind whilst you are trying to get on with your normal daily routine. I’ll just put the radio on whilst I finish this bit of homework you tell yourself and the plant quivers a little inside of you, knowing full well that its tendrils are now a part of you. You and the plant are one and it needs to be fed. But feeding it only causes it to become stronger and before you know it those three sacred days are gone, and you are hitting that beat morning, noon, and night. You are a music addict and there is no hope, despite you telling yourself it’s all natural and it is just nature’s way of nourishing the soul. You are listen-
Someone invites you round to listen to some vinyl on their system and you know you shouldn’t. You know this is the really hard stuff. You sit down between the speakers; the needle hits the groove, and that wave of pleasure travels up your spine and the plant loves it, it prickles (but in a good way now) and your whole body reacts with goosebumps. It’s like that first hit in the club months ago and you love it. And despite yourself you let your friend flip the record and take a second shot of the black stuff. You reel in it, and you love it. The feeling is back, and you know that this is the next level. The baby stuff is out the window, and you know this is where your future lies. You go home and lie on your bed with your headphones on and playing tunes from your phone and with your little DAC. You close your eyes, and a sudden jolt of self-realisation hits you. You are becoming what you said you would never become. You are becoming an audiophile! Money is begged and borrowed from aged aunts, uncles, parents, and grandparents. You have enough for a record player, amp, and speakers. And you know where the dealer lives. You have passed his place on the high street, and you have seen the poor unfortunates who inhabit that place at weekends. They are the ones your mother and father warned you about. You remember the talk, but you are beyond any talking to now and the money is burning a hole in your pocket like a red-hot ball bearing, and you know you need to offload that cash and give it to the pusherman in his glass fronted emporium filled with speakers, amplifiers, record
SO YOU WANT TO BE AN AUDIOPHILE?
players, cartridges, cables. The days pass and that ball bearing seems to be getting hotter and plant keeps on reminding you of that time at your friend’s house and that first album – hell, even the second side tasted as sweet as the sweetest thing you ever tasted. The plant now has a voice and it’s telling you to move quickly and before you know it Saturday morning is here, and you know this is the day. The day of no return. The day you finally accept you are an audiophile and that all hope is lost. You know that from now until the day you die you will be searching for the best and rarest form of musical high. You know that in a matter of
months the plant and you will need a purer way of getting the music into your soul, and you know that that nagging ache of what audiophiles jokingly call “upgraditis” is going to hit. It’s funny, they give it a medical term to make themselves feel better, a term that makes a self-mocking joke of what is actually happening; they are clucking like a laying hen and know that the only thing to do is to buy the next best thing to ease the ache. Anyway, welcome to the wonderful world of being an audiophile. My name is Stuart, and HiFi PiG will be your guide!
THINGYMYCORE
Crabcore, Nintendocore, and whole load of other cores go to make up an increasingly diverse (and confusing) musical landscape that has Stuart Smith slightly befuddled...and not for the first time.
I
THINGIMYCORE
used to DJ on the radio and in clubs and I’d have described my style, or rather the genres that I played as being house and techno. However, whenever I read magazines about rave culture it seemed that my simple characterising of the genres I played wasn’t really in-depth enough and there were a whole load of sub-genres within House and Techno that I should be aware of. Garage House was one and my understanding that this was House but with vocals and a bit of a Disco tinge to it, but, to be honest, I found (and still find) it very difficult to differentiate between different genres. OK, I need to qualify that a bit; I can tell the difference between Metal music and Disco but ask me to tell you if a track is Tech-House or just House with a bit of a Tech touch and I’m struggling. As dance music (I’m defining Dance music as four to the floor electronic music) has infiltrated mainstream (and less mainstream) culture the whole thing seems to have gotten to be a little bit silly…not to mention somewhat confusing.
novel to me!
PIRATE METAL Now, truth be known I had actually heard of this one but I was specifically drawn to it when it popped up in a search given our recent piratical adventures courtesy of Air France where a cancelled flight resulted in us being marooned overnight in a Pirate-themed hotel on the outskirts of Disneyland Paris. If that sounds bad, I’m not painting a horrible enough picture of the whole sorry episode. I digress. So, it turns out that Pirate Metal is much bigger than I thought with Scottish band Alestorm being the band I’d actually heard of, if not actually heard.
Pirate metal combines elements of traditional heavy metal with themes and imagery inspired by pirates and seafaring adventures
Acid House I get! It’s house with the unmistakable squelch of a Roland 303 acid box over the top of it. But then a quick Google search throws up Juke and Footwork House, Wonky House, Ghetto House, Outsider House, Micro House, and more. All these are a bit confusing for me and that led me to thinking that of the myriad genres of music, there must be sub-genres within sub-genres and I began to explore. The resulting searches weren’t so much a rabbit hole but rather a rabbit warren in some trans-dimensional space hitherto unknown to humankind. I genuinely don’t know how the kids keep up with this, and this wheels within wheels of musical categories must be a contributing factor as to why the young people of today are so messed up. Or rather, it’s actually more likely that they aren’t any more messed up that my generation was at that age and that it’s me being an “old” that is “passed it, grandad”. Anyway, it all confused me even more than when I was actively DJing on the radio and in clubs and so, dear reader, I thought it only fair to share my confusion with you in the hope that it confuses you too and I won’t feel so on-my-Todd in my state of mystification. So, join me as I take you on a journey of wonderment and bewilderment as I dip my internet-probing toe into some of the fascinating sub-genres of music that is out there for your delectation. For full disclosure, Google has been a great help in my quest in finding these genres, many of which are wholly
But what is Pirate metal, me hearties?
Pirate metal combines elements of traditional heavy metal with themes and imagery inspired by pirates and seafaring adventures. Bands in this genre often incorporate folk instruments, sea shanty-style melodies, and lyrics centered around piracy and maritime folklore. Ok, it’s a bit of fun, but I’m not sure I would want to spend a whole evening listening to it, Matey.
CRABCORE
Whooooaaaaaah, shipmates, where the hell did that one come from? Crabcore? Sounds like something where all the band members play metal and behave like crabs, which I know is highly unlikely, but it turns out that is exactly what it is with the internets telling me that “Crabcore is a term used to describe a style of metalcore characterized by exaggerated, crab-like movements performed by band members during live performances. While it started as a tongue-incheek description, it has become associated with bands that incorporate electronic elements, breakdowns, and a generally over-the-top stage presence”. Well shiver me timbers, whodathunk? Now, bewilderment got the better of me on this one and I did have a listen to the track “Me Millionth Dollar” by Kash Krabs that is said to be Crabcore, Trap and Hip Hop, and it wasn’t absolutely awful, though not as Metal as I’d thought it would be. However, further delving into the origins of this genre suggested that Kash Krabs aren’t really what Crabcore is about and that Ohio band Attack Attack are where Crabcore’s roots lie with Wiki telling me that “Crabcore” originated in late 2007, and was first seen in
THINGIMYCORE
a live performance by blessthefall. While performing “Higinia”, former lead singer Craig Mabbitt is seen squatting, almost in a “crab-like” way during the breakdown” and continues “However, the term “crabcore” was later popularized in reference to the Ohio metalcore band Attack Attack!, who featured a “crab-like” dance during breakdowns in their music video for the 2009 single “Stick Stickly” from the album Someday Came Suddenly.” Attack Attack sound a bit like Enter Shikari to me! So there you have it, and my only question now with regards to this is how is Metalcore different to Metal?
METALCORE
I add Metalcore only for the sake of completeness and to keep you on track and I’m reliably informed that Metalcore is a subgenre of heavy metal that emerged in the 2000s. It combines elements of metal, specifically the aggression and heavy guitar riffs, with elements of hardcore punk, including fast tempos and intense vocals. It’s starting again, Nurse! The genre typically features a fusion of harsh, screamed or growled vocals with melodic or clean singing, breakdowns (heavily rhythmic and heavy sections), and a balance between heavy, distorted guitar riffs and melodic passages. Actually all that sounds really not too bad at all but I can’t help thinking it would be SO much better if someone had had the good sense to throw some noises off an old computer game in there for good measure.
THINKING What got me thinking about all these different genres of music, over and above my morbid curiosity, was a conversation I had back in the early nineties with my bandmates from Dub Reggae (it’s reggae but with loads of effects and dubbiness thrown in for good measure) band RoughNeck Sounds. We were having a post band practice drink in the legendary Sunderland hostelry The Ivy House where copious amounts of booze (and no doubt speed and acid) had us discussing where computers would lead us and us debating the concepts that would later (unbeknown to us at the time) become Mash Up culture, where two wholly disparate musical genres, let’s say Country and Techno, are forced to marry each other in some shotgun wedding type arrangement made possible by Albleton Live and them giving birth to a mutant piece of music that is at once catchy and annoying in equal measure. Think of it being a musical version of the cult classic film The Revenge Of Billy The Kid only more horrifying…and appealing.
I Love Menopausecore
THE SAFE HARBOUR OF COUNTRY NINTENDOCORE Oh, they did just that. “Nintendocore blends metalcore or hardcore punk with chiptune music, which is the sound produced by vintage video game consoles. It incorporates elements like 8-bit melodies, blips, and bloops alongside heavy guitar riffs and aggressive vocals, creating a unique and nostalgic fusion.” I searched YouTube and I actually found myself not hating Nintendocore quite as much as I had expected. True, it is not my hot morning beverage of choice, but it’s fairly listenable. During my searching about Nintendocore I was introduced to the terms Cybergrind, Screamo, and a whole load more categories of glorious noise that I’m not going to delve into here.
WHAT GOT ME
So Metal has had its fair share of coverage in this essay so far and I reckoned it was time to take a different path in the warren and so I thought I’d look at what country music would throw up. I think it’s in the film The Blues Brothers where the band turn up to play a venue and ask what kind of music is usually played at that particular swinging hot-spot. The landlady of the place retorts, and I paraphrase “Oh, we have both kinds; Country AND Western!” But it seems that there’s more, much more, to Country music than you would think and I was shocked to my (Crab)core to find that there’s Traditional Country, Honky-Tonk (I know this one from the Stones tune), Outlaw Country, Bluegrass (another I know of), Country Pop, Alt Country, Country Rock, Cajun and Zydeco (Oh, I thought they were the same as Bluegrass), Western Swing, Red Dirt, and Country Blues.
Kidcore anyone? It may not be a thing yet (or it could well be very much a thing) but it’s only a matter of time.
THINGIMYCORE
I think I preferred it when there was just the wonderful pair of Country and Western to navigate my now confused musical ear around
PUNK Now punk is punk, isn’t it? OK, I know there’s Hardcore Punk (another I’ve never really been able to tell apart from others) and Anarcho Punk (one I do know about) but surely that’s about it…isn’t it? Well, it would appear not and there’s bloody loads of subbies out there for your aural pleasure. These include: Pop Punk, Skate Punk, Post Punk, Celtic Punk, Street Punk, Emo, Crust Punk, Grindcore, Queercore, and the wonderfully titled Powerviolence which is apparently a combo of Hardcore Punk, Grindcore and Thrash Metal that is typified by intense bursts of aggression alongside “chaotic” music but with socially conscious lyrics. I had a listen to Powerviolence band Spazz and their 1997 record La Revencha and I found that it was indeed intense bursts of aggression alongside chaotic music but with socially conscious lyrics…not that I could make head or tail of what was being sung. Actually, Spazz were pretty enjoyable and I urge you to search them out if you like intense bursts of aggression alongside chaotic music but with socially conscious lyrics…that you can’t make head or tail of.
CLASSICAL MUSIC I’m not a huge fan of classical music, but I thought this was a bit of a safe haven from the maelstrom of sub-genres within sub-genres that I was stumbling upon in my mini-quest, but it seems that Classical music isn’t quite the one-size-fits-all genre I thought it would be. OK, I knew there was chamber music and whatnot but that was about it, but just look at it will you? There’s Romantic Classical, Impressionist Classical, Modern Classical, Neo Classical, Serialism, Avant-Garde, Film Score Classical, Classical Pun ClassicCore, Classical Crab and even Electronic Classical…ok, I made some of them up, but it’s only a matter of time.
THE URGE TO GIVE IN IS UPON ME! At this point I gave up the will to live and decided
to take my leporine and piratical mixed metaphors to the edge of the port side and have them hop the plank for fear of me never getting out of this never ending tunnel of tuneful (and not so tuneful) ditties and losing myself in the ancient mists of DonkCoreShantyPunk that was bound to descend sooner or later.
I think the need to categorise things is a very human trait and something we have been doing pretty much forever, with the Victorians having a bit of a name for wanting everything to belong in its own little box. Actually, I’ve very much enjoyed my little foray in to some lesser known (by me) categories of music, but I’m not actually sure it’s helped me tell the differences between some of the genres within genres, though the more obvious ones are pretty easy to spot – riffing guitars and vocal themes of splicing the mainbrace whilst weighing anchor could only ever be Pirate Metal…couldn’t it? I suppose it’s only a matter of time before Pirate Metal aficionados split ranks and create Red Beard Metal and Blue Beard MetalCore Thrash. Personally, I can hardly contain my excitement at the prospect. Of course, the scope of this article has only allowed me to break the surface of the deep, dark, and mysterious waters that are musical subgenres, but I do hope that it’s given you a taste of my own mental confusion. And if you ever meet me at a show, an airport, or wherever, let’s keep the conversation really simple and just chat about the weather….Oooh, I wonder how deep a topic different weather types is…?
…HELP! NURSE!!!!! Be afraid! Given I’ve enjoyed writing this so much I’m already planning expedition number two in to the Badlands of musical sub-genres. Post Script: I’ve just finished writing this and headed over to Facebook for a bit of light relief only to see a post by my mate Darren that helps run Serial Bowl Records, and confronted by a photograph of a letter he’s just received from the band Yootha Today that read (and I swear this is 100% genuine and as it happened) “Reports have reached us at Yootha Towers that you have been a Naughty Boy! Therefore, we have sent you some of our badges to wear as your punishment, whilst writing out 100 lines : “I Love Menopausecore!”” There is no end to the madness. None, I say!
A Digital Antidote (for Modern Hearts & Minds) Pt II, The Power of Music By Andy Oattes
I
THE ART OF SLOWDOWN - THE POWER OF MUSIC
f you managed to read my last piece on The Art of Slowdown and you’re back for more, then welcome back! If you haven’t yet read that piece, I’d recommend you go back to the launch issue of Not Boring and take a read, it’ll provide a bit of context to the following article.
Music is good for you. We kind of know this already, right? But do we really appreciate just how good it is for us? And in what way, exactly? I must start by saying that in no manner am I any sort of expert, but you could say that with over two decades of working in the HiFi industry and more than four decades of being a music fan, and with owning and playing quite a number of instruments, plus DJing and producing electronic music, I’ve had my fair share of musical experiences & musical moments. Be it purchasing my first system when I was 14, or watching a customer’s face light up when they hear a great system for the first time; their eyes come alive and a smile often appears when they experience their favourite track in a way that they never have had before. If you think back to your own experiences with music, music definitely has some sort of power at a fundamental level. To understand why music has such a potent effect on people, we have to understand what music actually is. And to do that, we need to understand sound. And prior to that, is hearing. Did you know that hearing is one of first senses to develop in the womb after touch? It’s fascinating to me how we map-out our world via our senses, responding to sound, touch, taste, smell and sight, but sound is a huge part of how I map my world. It’s also a critical piece in The Art of Slowdown – when we listen and not hear, we are quieter and less anxious.
From my research, and personal experience of being a father, a foetus will begin to respond to sound around 5 months at the same time as the auditory system and brain are developing. Interestingly, the auditory system requires a wide range of sounds to develop properly, such is the incredible interconnectedness of our brain/body function. At this stage the foetus will be able to hear low frequencies, although it’s hard to distinguish between those sounds, but over time, the young baby will develop the ability to differentiate between a wider array of
sounds. As the hearing develops, so does the range of sounds that it can hear and respond to. Around 6 months is usually when parents start playing music and talking with the Mother’s womb and also when the baby will respond to the sound of their parents voices or music, with kicking. I remember this moment really well. The feeling of the first real communication with your baby in the womb, is an incredible moment… And a lot of parents move onto reading to, speaking with and playing music to their partner’s tummy! After being born, a baby’s world is a universe of sounds. What makes us unique as a species, is also the fact that we are so “programmable” when we are born. All the critical parts of the brain responsible for the main body functions are hard-wired, but the rest is left totally open, ready to respond to and build a completely wired brain, designed around their environment, sounds, interactions and relationships. We are truly born to absorb like a sponge, our immediate environment. Now if this is the case, it’s logical that music played to a developing baby would result in our brains being wired in a positive way, right? Well, this is exactly the case. According to *Carlota Nelson from Brain Matters, “Music makes a big difference to the baby brain. One study from the institute of Brain Studies detected that after babies listen to music, their auditory and prefrontal cortexes look different. These are the regions of the brain in charge of processing both music and speech”. In studies by various scientific journals and in information from a UNICEF parenting report, listening to music does change the brain, and has huge benefits, such as: Helping to regulate stress and develop positive moods, and control lover mood changes Developing vocabulary, creativity and imagination, and improve “flow” Build positive skills such as learning to share and empathize (due to release of formation of dopamine and oxytocin) Improve concentration and productivity Help develop key skills such as spatial intelligence, very helpful in developing interest in mathematics, engineering, architecture and computer science If we now move to the elderly, we can also see similar effects. There have been many studies on
THE ART OF SLOWDOWN - THE POWER OF MUSIC
THE ART OF SLOWDOWN - THE POWER OF MUSIC
how music helps the elderly with memory recall. In care settings, it’s very common practice to play music that is motivating, positive and of a time and relevance for residents to easily recall. Again, this is proven to help with stress levels and keep dementia patients in “the present” by improving working memory and recognition memory. Often residents will sing along to the music, even when they are unable to remember much of the present. Something in music has the power to connect the brain with
memories, like a key that unlocks areas of the brain that have been damaged by disease. Powerful stuff. I’m not sure we’ll ever truly know how much of a role music plays in the developmental stage of human or indeed throughout our lives, but it does seem that all the science leans towards listening to music being incredibly beneficial all throughout the stages of our lives.
IL WOL DANG
Following IL WOL DANG’S successful run of shows at this year’s Edinburgh Fringe Festival, John Scott caught up with the group’s leader, Lee Ju Hang to find out more about her and the group.
IL WOL DANG INTERVIEW
John: Hello Ju Hang, it’s lovely to speak to you again. Are you fully recovered from your visit to the Edinburgh Fringe?
the journey of life. The keywords “Bara, Pungryu” we mentioned during the performance can explain it.
Ju Hang: Hi, John. Actually, I was sleepy at 3 PM every day for about two weeks but I’ve fully recovered now, thank you.
“Bara” is about hoping the audience reflects on what they truly desire in life. It’s more than just fulfilling wishes; it’s about self-exploration, realizing one’s true desires, and living with hope and excitement for those aspirations. “Pungryu” gives the audience an experience of our Korean ancestors’ culture, who cultivated their spirit in nature.
John: What did you enjoy most about your time in Scotland? Was there anything that you did not like so much or anything that really surprised you? Ju Hang: There wasn’t a single thing I didn’t like. Every day felt like a dream: the audience I saw every day, the beautiful nature... I even enjoyed Scotland’s weather. John: Yes, you were lucky with the weather this year, the Fringe is often accompanied by three weeks of rain but you brought the sunshine with you. Was this the first time that IL WOL DANG has performed outside South Korea? Ju Hang: Yes, it was the first time for IL WOL DANG. I personally had performed abroad before, but it was the first time as IL WOL DANG. John: Can you tell me something about the philosophy behind IL WOL DANG’s music; what do you hope people will experience when they listen to your music? Ju Hang: IL WOL DANG’s music has a different message for each album, and even for each song. But ultimately, it speaks about the preciousness of everyday life and realising what’s truly important in
Our ancestors enjoyed music by listening to the rain and sounds of nature. They nurtured their emotions and focused on themselves while enjoying the gifts nature provides. Focusing on oneself is crucial. It leads to a more satisfying and cherished life. This is the underlying message in IL WOL DANG’s music. We always convey this in our music. John: During your show you told the audience that IL means Sun, Wol means Moon and Dang means home. Why did you choose that name for the group? Ju Hang: When I create, I often draw inspiration from certain spaces, be it the natural realm between the sky and the moon or the ordinary spaces of daily life. Regardless, I aim to craft music from scenes or stories that exist between the sun and the moon. My dream is to weave these stories together to produce music that serves as a sanctuary or a place of rest for listeners. John:Your main instrument is the daegeum. How long have you been playing it and do you play other instuments?
IL WOL DANG INTERVIEW
Ju Hang: I can play various instruments like percussion, the sogeum (a Korean traditional instrument), and I sing, but the instrument I feel most at ease with is the daegeum (a traditional Korean flute). I’ve been playing it since I was twelve years old. In fact, now, I find playing more comfortable than speaking. John: Which other musicians have influenced you? Ju Hang: There have been many musicians, but overall, Ryuichi Sakamoto is my life’s role model. Not only do I love his music, but the way he breaks boundaries, delivers energy through his music, and comforts his audience has made me realize why I pursue music. John: Ryuichi Sakamoto is well known to many of our readers from his work with The Yellow Magic Orchestra, David Bowie and David Sylvian but we also know him for his soundtracks for films like Merry Christmas Mr Lawrence and The Last Emperor and his own solo albums. Is composing soundtracks something that you see yourself doing? Ju Hang: I often compose music for dramas and videos even now. It requires a lot of study and energy, but I think it’s a lovely job. If given the opportunity, I want to continue doing it, as it’s something I’d like to focus on. John: Can you introduce us to the other members of the group: G.Qoo, Park Hanbeen and Jang Miji? Ju Hang: Each of our team members are actively working artists in their respective fields. G.Qoo is a
multi-talented artist who plays the bass and guitar. He also plays various Kpop songs and produces music for advertisements. Hanbeen is a proficient jazz pianist with many fans who follow her music. I was instantly drawn to her the first time I heard her play; there’s a freedom in her structured play. I love it. Miji is a gayageum player. She’s the kind of player who delivers perfectly what’s asked of her. She may seem quiet, but she’s a dependable and deeply skilled musician. John: Our readers may not be familiar with the gayageum and the daegeum. Can you tell us a little more about those instruments. Ju Hang: Gayageum and daegeum are traditional Korean instruments. Daegeum is made of bamboo and can be thought of as similar to a flute. However, its mouth and finger holes are much larger, making it more challenging to play. In the past, it was believed that the sound of the daegeum could dispel negative energies, so it was played during significant events for the king. The daegeum, which resembles the human voice, is an instrument I truly love. The gayageum is a traditional Korean string instrument that varies in the number of strings depending on the music piece. We chose the 25-string version suitable for our original compositions. It’s similar to a harp but uses paulownia wood and silk threads, producing a beautiful and natural sound. John: Mike Oldfield once said that he loved the bass guitar because it could really speak as an instrument. I got a sense of that in G.Qoo’s playing – like he was telling a story with his bass playing. Do you agree?
IL WOL DANG INTERVIEW
Ju Hang: Yes, I do agree. I love musicians who can have a conversation through their instruments. G.Qoo is an excellent player who responds freely to every musical cue. It’s such a joy to be able to paint a picture and have a conversation through music with such players. John: I definitely felt that dialogue between the instruments when I saw your show. How much do your live performances vary from your albums; do you try to recreate the music as heard on the albums when you play it live or do you like to improvise and take the music in a different direction each time you play it? Ju Hang: Albums and live performances tell completely different stories. On stage, the performance has to be more alive. We keep to our commitments, but each of us breathes freely, and that’s the biggest gift of a live stage. John: The costumes that the group wear are very elegant. Did you have them designed specially for you? Ju Hang: That’s right. In Korea, we wear cool, non-traditional outfits. But in Edinburgh, we wanted to wear something that matched our story and music. I discussed this with my favorite designer and art director, and they spent months listening to our music and designing our outfits. I was very satisfied. John: I liked how each outfit was rooted in tradition but was very different to reflect your own personalities G.Qoo wears a mask for part of the show. What is the significance of that? Does it
have a particular meaning in Korean tradition? Ju Hang: That mask is called “Cheoyong Tal” in Korean traditional masks. In ancient Korean tales, “Cheoyong” is a being that repels disasters and brings good fortune. Its appearance doesn’t quite look like a typical Korean, and its identity is mysterious, but it’s a being with positive energy. I hoped our music would feel that way to someone too. Music whose exact identity is unknown but still provides good, positive energy to me. That’s why our art director made the Cheoyong mask for us. John: K-Pop is becoming more and more popular outside Korea. Do you see yourself as part of the K-Pop scene or as something different? Ju Hang: I think we’re in an era where the line between K-Pop and other music is blurring. If people enjoy it and it’s from Korea, then our music can be considered K-Pop. However, the difference might be in the nuances of our sound. John: Now that you have recovered from Edinburgh, what’s next for IL WOL DANG? Ju Hang: Our next move is to meet more audiences. Our fourth album, ‘Dreamer’, is coming out soon. You will be able to listen to it on Spotify and YouTube. John: I’ve been lucky enough to hear Dreamer already and I’m sure that people are going to love it. Thank you, Ju Hang, for taking the time to talk to us and I hope we will see you back in Britain, and Edinburgh of course, soon.
A YEAR IN GIGS
A YEAR OF GIGS WITH JOHN SCOTT With more than forty gigs to choose from this year, nominating a favourite is a tough call. There were several highlights: Bonnie Raitt played and sang like someone half her age, Blondie’s Clemson Burke and The Sex Pistols’ Glenn Matlock wowed a couple of hundred of punters in a tiny, sweaty club, Tom McGuire and The Brassholes upped the sweat factor even further with an evening of blistering funk and His Lordship tore the roof off with some gritty rock and roll before morphing into The Pretenders to back Christie Hynde at Glastonbury later in the year. If forced to name a favourite then I’ll probably have to plump for The Darts whose no-holds-barred garage rock was just a whole lot of fun, fun, fun. As good old Henrique Ibsen said, a picture is worth a thousand words so here are a few photos to show how I spent some of my evenings in 2023. JOHN SCOTT (UPSTAGE PHOTOGRPAHY)
A YEAR IN GIGS
BLUES AND BURLESQUE
A YEAR IN GIGS BOB LOG III
A YEAR IN GIGS
BETH NEILSON
A YEAR IN GIGS
BRUNO AND THE OUTRAGEOUS METHODS OF PRESENTATION
A YEAR IN GIGS BUZZCOCKS
A YEAR IN GIGS
COD O’DONNELL
A YEAR IN GIGS DADDY LONG LEGS
A YEAR IN GIGS
DIRTY HARRY
A YEAR IN GIGS
DJ YODA
A YEAR IN GIGS
ERIC BIBB
A YEAR IN GIGS
A YEAR IN GIGS
FOCUS
FROM THE JAM
A YEAR IN GIGS
A YEAR IN GIGS
FUN LOVING CRIMINALS
A YEAR IN GIGS
HENRY WAGONS
A YEAR IN GIGS
With more than forty gigs to choose from this year, nominating a favourite is a tough call. There were several highlights: Bonnie Raitt played and sang like someone half her age, Blondie’s Clemson Burke and The Sex Pistols’ Glenn Matlock wowed a couple of hundred of punters in a tiny, sweaty club, Tom McGuire and The Brassholes upped the sweat factor even further with an evening of blistering funk and His Lordship tore the roof off with some gritty rock and roll before morphing into The Pretenders to back Christie Hynde at Glastonbury later in the year. If forced to name a favourite then I’ll probably have to plump for The Darts whose no-holds-barred garage rock was just a whole lot of fun, fun, fun. As good old Henrique Ibsen said, a picture is worth a thousand words so here are a few photos to show how I spent some of my evenings in 2023. John Scott (Upstage Photography)
HIS LORDSHIP
A YEAR IN GIGS IL WOL DANG
A YEAR IN GIGS
JAH WOBBLE
A YEAR IN GIGS
KENNY WAYNE
A YEAR IN GIGS
KT TUNSTALL
A YEAR IN GIGS
KULA SHAKER
A YEAR IN GIGS
KURT VILE
LOGANS CLOSE
A YEAR IN GIGS
A YEAR IN GIGS
LONDON ASTROBEAT ORCHESTRA
A YEAR IN GIGS
LUST FOR LIFE
A YEAR IN GIGS
MARIO BONDI
A YEAR IN GIGS
MICHAEL HEAD AND THE RED ELASTIC BAND
A YEAR IN GIGS
MULL HISTORICAL SOCIETY
A YEAR IN GIGS
OTTO AND ASTRID
A YEAR IN GIGS
PIL
A YEAR IN GIGS
RAZORLIGHT
A YEAR IN GIGS
ROSALIE CUNNINGHAM
A YEAR IN GIGS
SOAP GIRLS
A YEAR IN GIGS
RURA
A YEAR IN GIGS
SHONAN KNIFE
A YEAR IN GIGS
THE BEAT
A YEAR IN GIGS
THE DARTS
A YEAR IN GIGS
THE DEAD SOUTH
A YEAR IN GIGS
THE JOHN MARTYN PROJECT
A YEAR IN GIGS
THE MUSICAL BOX
A YEAR IN GIGS
THE RISING
A YEAR IN GIGS
THE UNDERTONES
A YEAR IN GIGS
THE URBAN VOODOO MACHINE
A YEAR IN GIGS
THOMAS TRUAX
A YEAR IN GIGS
TOKYO HONEY
A YEAR IN GIGS
TOM MAQUIRE AND THE BRASSHOLES
A YEAR IN GIGS
WRECKLESS ERIC
COCKTAILS WITH TERRY A week of pleasant surprises and changing perceptions
A
COCKTAILS WITH TERRY
s this is meant to be a column pairing cocktails and music, it seems that addressing the concepts of banning, cancel culture, or any other form of censorship may seem to be a bit of a stretch. However, it takes only a moment for the ban on absinthe to come to mind, ar at least it does to mine. For those who may not be familiar with absinthe, it is an anise or licorice flavored spirit derived from several plants, including wormwood, green anise, sweet fennel, and other herbs. It is considered be a potent drink, traditionally being between 45–75% alcohol. Absinthe usually has a natural green color, with a unique characteristic of turning a milky white when diluted with water. For this reason, and the fact that it provides what in my experience is the most euphoric alcohol high, it is often referred to as the “green faerie” or in cases of overindulgence the “green beast.”
Throughout the 19th and early 20th centuries, absinthe grew in popularity, particularly as mass production made it an increasingly inexpensive and effective intoxicant, becoming particularly popular among Parisian artists and writers, as well as with the downtrodden and destitute simply needing a cheap escape from their harsh reality. The consumption of absinthe was opposed by social conservatives and prohibitionists, partly due to its association with bohemian culture, and the perception of being a dangerously addictive psychoactive drug and hallucinogen. Absinthe also became associated with violent crimes and social disorder. Much of this trend may have been the result of fabricated claims and smear campaigns, thought to be orchestrated by not only the universal temperance movement but also the wine industry as it saw an alarming increase in absinthe consumption that could lead to a diminished demand for their product. The Lanfray murders seem to have been the tipping point in the efforts to ban absinthe. During lunch on 28 August 1905 Jean Lanfray, a Swiss farm laborer, during the course of his working day consumed seven glasses of wine, six glasses of cognac, one coffee laced with brandy, two crème de menthes, and two glasses of absinthe after eating a sandwich. He returned home, and drank another coffee with brandy, before an ongoing argument with his pregnant wife over her refusal to wax his work boots led to his taking his rifle and subsequently shooting her and his two children before turning the gun on himself in a failed attempt to commit suicide, resulting in his shooting himself in the jaw. During his murder trial, the fact that Lanfray was certainly an alcoholic was overlooked or ignored and blame for the murders was placed solely on his consumption of the two glasses of absinthe. This
led to a petition effort that eventually resulted in the ban of absinthe in Switzerland in 1910, and to bans in every European country (except the United Kingdom, Sweden, and Spain) as well as the United States shortly thereafter.
A ban by its very nature is an attempt to hide or deny certain aspects of human existence, serving only to diminish our understanding of the full spectrum of lived experience, thereby reducing, and limiting our engagement with the world around us. This is much to our detriment as it leads in turn to the avoidance of confronting or examining an issue to reach a better understanding as to how to address a particular situation or to provide an informed and effective solution. As a result, a ban creates a false impression that effective action has taken place, when in fact nothing of the kind has occurred. In the case of Lanfray, no consideration was given to the actual living conditions of the man and his family, the general grinding poverty of their lives and the consequences of the unrelenting effects of the crushing inequality that informed their existence, leading to the almost inevitable escape into addiction, but rather the focus was on only one minute aspect of that addiction as a convenient scapegoat in the promotion of an advanced agenda. Additionally, bans tend to result in unintended consequences, both large and small. In the case of the absinthe ban, distillers either went out of business or simply changed their recipe to create liqueur d’anise, an anise flavoured liquor lacking wormwood, which was thought to be the cause of absinthe’s more negative side effects. On a larger scale, the universal prohibition of alcohol in the United States in the 1920s led to an increase in organised crime, effectively motivated and funded by the demand for alcohol that seems to have been greatly increased in part due to the ban. This recalls another peculiar aspect related to this topic, and that is the notion that banning something may actually bring it to the greater awareness of the public of which it otherwise may not have been aware, or even increase the desirability to participate in the banned substance or activity. During prohibition, drinking became a much more exciting social activity by the very fact that it was forbidden; much in the same way that banning books has led to an increase interest in those very books, or the awareness of the underlying concepts of critical race theory being brought to the attention of those that had no understanding of that educational practice and more importantly the history underpinning it. It is hard to resist the temptation to note that the bans mentioned above, and many more both in the past and present, seem to be predominantly discussed in the land of the free. Inevitably all of this leads to an understanding that prejudices and bigotry often result from our efforts
COCKTAILS WITH TERRY
COCKTAILS WITH TERRY
to simplify to the point of oversimplification our complex world in a vain attempt to establish some level of understanding and control over the perceived chaos.
This gesture of banishment is practiced every day in both large and small ways, allowing ourselves to remain blissfully or even wilfully ignorant of the mechanisms that allow us to live our essentially overprivileged lives, becoming insensitive to the effects of this action as it is practiced on a larger and more critical scale throughout our lives and the world. Effectively training us to accept the prevailing conditions.
of Virgin, created in 1988 for new age and modern classical artists, seemingly and regrettably not available through any music streaming services. While looking at the record sleeve detailing other releases from Venture, I noticed that one of them was Durutti Column’s “The Guitar and Other Machines” that led to the further discovery that coincidentally John Metcalfe had been the arranger on the band’s “Without Mercy.”
The Music and the Cocktails
Somehow investigating this further led to yet another discovery in that Way had briefly been a member of Curved Air (maybe best known now for another member briefly with the band that went on to form The Police, Stewart Copland). In fact, in Curved Air’s album “Air Conditioning” is a tune called “It Happened Today” with a soaring violin melody hinting at the harmonic progressions found in the much later “The Human Condition.”
I was thinking about this topic of banning when I was given a gift of flavoured gins that has led me down a path of pleasant and satisfying surprises, resulting in a change of perceptions as I confronted my own petty prejudices.
As a result of all this discovery, the playlist serving as the soundtrack for my cocktail making was filled with nothing but Durutti Column and Curved Air recordings, even though I had thought up to this point that, like flavoured alcohols, I did not care for either.
To wit, I have had an unspoken ban on flavoured alcohols in my bar. Like all prejudices, being at their foundation thoughtless, my ban does not consider the fact that gin, which I am endlessly fascinated by, is at its base neutral spirits flavoured with botanicals. My sense is that the source of this and other decisions like it (or bans, to better fit the topic), was to simplify my bar inventory. With so much to choose from in the way of wine, beer, and spirits it can be difficult to choose and even harder to maintain a reasonable number of bottles in the bar.
In particular, I recall not caring for the first Durutti Column album resulting as much from the music as from the sand paper cover, the novelty of which wore off over time, as did the surfaces of those albums on either side of it on the record shelf, leading to my selling it off, now to my regret given that I have a feeling it would be worth some money. But as I listened to later work by the band (or should I say Vini Reilly, the multi-instrumentalist and essential source of all their output), much to my surprise, I found myself being entirely captivated for hours at length, album after album, thanks to the glories of streaming.
My first thought had been to regift the bottles to those who I know enjoy flavoured alcohol, but the fact that they were given to me by dear friends and colleagues as thanks for supporting our mutual efforts at a recent trade show, I just could not bring myself to give them away.
So, I find that in the right context or mix I not only like the flavoured gins I received, and possibly others not yet sampled, but also the music I rediscovered, to the point of being tempted to say I love them all (while admitting this feeling does not extend without qualification to Curved Air ;-).
So, I began tasting and experimenting, during which I encountered “Tree,” a new release by John Metcalfe that has absolutely captivated me. To my ear the music at various times echoes the English pastoral tradition of the early twentieth century, while being filtered through the minimalism of the late twentieth century, aligned with modern popular light classical and atmospheric movie soundtrack composing of the beginning of this century. It is more than highly recommended! For some reason there was something about “Tree” that got me thinking of a favourite LP of Darryl Way’s “The Human Condition (Suite for String Orchestra, Piano, and Percussion),” recorded with Opus 20 and released on Venture Records, a division
The “Banned” Cocktails Absinthe - There are all kinds of absinthe based or infused cocktails, most with forbidding names like Death in the Afternoon (simply absinthe and champagne) or Corpse Reviver (of which there are many varieties leading to names like the ever-popular Corpse Reviver #2) and most using only a hint of absinthe to provide an anise top note to the total flavour profile. There are a variety of ways to serve absinthe on its own. Filling a large glass of crushed ice over which is poured a shot each of absinthe and simple syr-
COCKTAILS WITH TERRY
COCKTAILS WITH TERRY
up is particularly satisfying on a hot day, especially if in the south of France. And speaking of France, the traditional French method of dripping ice water through a sugar cube into a glass of absinthe does deliver on cocktail making theatre, but I am inherently lazy and prefer the experience of chilled absinthe neat, with no added sugar. My method is to chill a shot of absinthe in a shaker filled with ice before straining into an attractive stemmed shot glass.
This method actually provides a base for other absinthe infused cocktails, as most cocktail recipes using absinth call for only a small amount, usually by rinsing the glass or as in my method by seasoning the ice. The advantage of my method is that you essentially have an “appetizer” drink prior to enjoying the full cocktail, and one I tend to call The Green Faerie. One of those cocktails is the classic Sazerac, among the first documented absinthe cocktails. Its origins are in New Orleans where the Peychaud bitters company is based and is somewhat responsible for creating the drink. The company, as do most experienced bartenders, insist that a true Sazerac must use Peychaud bitters (although let’s not let prejudice prevent the use of other options ;-).
Sazerac • 1 shot absinthe, to season the ice • 2 shots cognac, or rye, or both, which is my preference • ½ shot simple syrup, in this instance homemade fig simple syrup was used • 3 dashes Peychaud’s bitters • Lemon peel garnish 1. In an ice filled metal shaker, chill the absinthe by shaking until the shaker feels too cold to hold, and then strain the absinthe into a chilled stemmed shot glass 2. To the seasoned ice in the shaker, add the cognac or rye or both, the simple syrup, and bitters and shake until well-chilled or until the shaker is too cold to hold 3. Pour the mixture and ice into an old-fashioned glass if you prefer your drinks on the rocks or strain into a chilled coupe if a cocktail served “up” or without ice is your preference 4. Garnish by twisting the lemon peel to express the oils, placing the peel on the top of the drink For a lighter cocktail, and one that works well made in big batches to have pitchers full at the ready on a hot day, the Green Beast is a great recommendation:
Green Beast
• • • • • •
3 slices cucumber, peeled 2 ounces simple syrup 1 ounce absinthe 1 ounce lime juice, freshly squeezed 3 ounces chilled water Garnish: cucumber slices
1. Muddle cucumbers and simple syrup in a Collins glass 2. Add the absinthe, lime juice and ice 3. Top with chilled water, and garnish with additional cucumber slices Other favorite absinthe cocktails contemplated, and mentioned in the article, but not made for lack of champagne, Cointreau, and Grand Marnier (I have got to get to the liquor store! ;-):
Death in the Afternoon • •
1 ounce absinthe 4 ounces chilled champagne
1. 2.
Pour the absinthe into a champagne stem Top slowly with the champagne
Corpse Reviver #2 • • • •
1 ounce gin 1 ounce lemon juice 1 ounce Cointreau or Grand Marnier 1 ounce dry vermouth, Lillet Blanc or Cocchi
• •
½ teaspoon absinthe Garnish with orange peel or orange wedge
Americano
1. Add the gin, lemon juice, Cointreau or Grand Marnier, dry vermouth, and absinthe to a cocktail shaker, shaking until too cold to hold. 2. Strain into a cocktail glass 3. Garnish with an orange peel or orange slice Flavoured Gins - for the flavoured gin cocktail experiments two gins from Slngsby in Harrogate, UK were used, one gooseberry and the other rhubarb. Noticing that I had a few bottles of my friend Rolf’s Lemondrop Hopsoda in need of drinking, the thought occurred that it could work well with the gooseberry gin. Rolf is the founder of Sibbarps brewery that just happens to be right across the road from Primare’s offices where I work, so starting up a friendship has been very easy. His Lemondrop Hopsoda is perfect for those who do not care for overly sweet mixers, having a light hoppy bitterness to balance out the sweetness of the lemon soda. In this case it in fact proved a perfect partner for the gooseberry gin, garnished with a slice of deliciously crisp and tart apple from another friend’s backyard.
COCKTAILS WITH TERRY
With that success, I turned to another soda needing to be drunk and made by yet another friend who has since left the business to raise her first child. Before retiring the Flavour Forward brand, she created wonderful natural sodas from local ingredients, and as the flavour I had on hand was her delicious rhubarb fennel, the rhubarb gin seemed to be the all too easy choice and proved to be a bit too easy to drink as the gin served only to brighten and reinforce the flavours of the soda, garnished with an Amarena cherry or two.
using the gooseberry gin combined with Sandberg Drinks Lab Enhanced Tonic Syrup and sparkling water from the trusty Aarke carbonator, along with a healthy squeeze from the lime wedge garnish, making for a refreshingly fitting finish to the experiments
In closing, what I have taken from these recent experiments and experiences, the moral if you will, is that it is essential to remain open even to those things that are assumed to be disliked or even banned. For example, I am not a fan of the faux “Irish” pubs that are found scattered across the globe outside of Ireland, for any number of reasons Next up was a classic Negroni made with the not to be detailed here. But when I discovered that rhubarb gin that, much to my surprise, created the only way I would be able to see the Rugby World a remarkably harmonious drink, especially when Champion 2023 final was to go to one of these Irish garnished with a Luxardo Marsicano cherry. This pubs here in Malmö so that I could watch my belovcaused me to reach for an open bottle of sparkling ed All Blacks hopefully win another championship, sweet red Lambrusco and to make another negroni, I pushed aside my prejudices and had an amazing but in this case with the adding the rhubarb gin and time, even in defeat, even in an “Irish” pub, as it was Campari to the Lambrusco substituting for sweet the just right context in which to see the game. In red vermouth, along with a splash of sparkling water other words, a pleasant surprise that has changed to bring things together and to life. The resulting my perceptions. flavour being reminiscent of a Luxardo Maraschino cherry, making that the garnish of choice and the DRINK IN MODERATION. DRINKAWARE name of Cherry Negroni most appropriate. From there a gin tonic seemed the next best bet,
YOUR HiFi HOROSCOPE
Gasp in wonder as our audiophile astrologer in residence adopts the ban-hammer!
Aries (March 21 - April 19): Today, Aries, the stars have decided that you are forbidden from using the word “spatula” in any conversation. Why? Well, who cares! Embrace the mystery, Aries, and watch as your friends try to decipher the hidden meaning behind your spatula-less existence. Taurus (April 20 - May 20): Taurus, you’re not allowed to wear socks today. The stars have spoken, and they demand toe freedom. So, let those piggies breathe and enjoy the forbidden thrill of exposed ankles.
YOUR HiFi HOROSCOPE
22): Leo, today is the day you are forbidden from making eye contact with anyone. Strut through life like a majestic lion, head held high, and eyes fixed firmly on the ground. Who needs eye contact when you have regal indifference?
Virgo (August 23 - September 22): Virgo, the stars have a peculiar command for you: thou shalt not use utensils today. It’s finger food or nothing. Get ready to embrace your inner caveman and revel in the forbidden joy of food directly from plate to mouth.
Gemini (May 21 - June 20): For Geminis, the cosmos decree that you must communicate only in interpretive dance today. Words are so last season, Gemini. Get ready to express your deepest emotions through a series of twirls and jazz hands.
Libra (September 23 October 22): Libra, today you are forbidden from making decisions. Indecision is your new best friend. When faced with choices, simply respond with, “I don’t know, what do you think?” Embrace the uncertainty, Libra; it’s the forbidden spice of life.
Cancer (June 21 - July 22): Cancer, the stars have forbidden you from using your smartphone today. Embrace the ancient art of carrier pigeons or, better yet, telepathy. Just remember, the cosmos is watching, so no sneaky texting under the table!
Scorpio (October 23 November 21): Scorpio, the stars decree that you are forbidden from wearing anything other than neon colors today. Blend in? Not in Scorpio’s universe. Strut your neon stuff and let the world bask in the forbidden glow of your fashion choices.
Leo (July 23 - August
Sagittarius (November
22 - December 21): Today, Sagittarius, you are forbidden from using your indoor voice. Let that booming voice of yours echo through the halls, disrupting the peace and confusing everyone within earshot. Who needs tranquility when you have the forbidden power of volume? Capricorn (December 22 - January 19): Capricorn, the cosmos have decided that you are forbidden from using any form of punctuation today. Be the rebel without a cause, Capricorn, and let your sentences run wild and free without the constraints of periods or commas. Aquarius (January 20 February 18): Aquarius, you are forbidden from walking today. Glide, float, or moonwalk your way through life. Let gravity wonder what happened as you embrace the forbidden art of non-walking. Pisces (February 19 March 20): Pisces, today the stars declare that you are forbidden from using the letter “P” in any written or spoken communication. Good luck, Pisces, as you navigate the linguistic labyrinth without the pleasure of that peculiar letter.
JUST DON’T. PLEASE REREAD!
DISCLAIMER: Horoscopes are a load of old bollocks and should not be taken seriously in any way!