TONEAudio MAGAZINE The Concierge of High End Audio

Cranking Public Enemy’s “Fight the Power” to a level way beyond what I’d ever expect from a small pair of monitors causes me to redefine my mental short list for a final hi-fi system. While I routinely audition six-figure speakers (and enjoy every minute of it), the Cenya and its slightly more expensive sibling, the Cenya Signature, deliver so much music that I would happily retire with these Finnish beauties as destination speakers.

The Cenyas do everything but deliver the last octave of deep bass, and at $4,000 a pair, they leave you enough scratch to add your favorite subwoofer, should you require it. But in a small- to medium-sized room, you may not need the extra bass. These speakers are positively heavenly in my new small listening room (10 by 13 feet) powered by the Devialet 120. Penaudio speakers have always needed a little bit of juice to give their all, and the 120 watts per channel provided by the Devialet gets the job done, no matter what the musical faire. The opening bass drum beats from Led Zeppelin’s “No Quarter” are delivered solidly, without overhang. As the cymbals linger in the air and fade off into black, the sparkle remains potent, which leads me to believe that these little speakers move some serious air.

It’s worth noting that Devialet owners that are running the current firmware can now take advantage of their new S.A.M. (Speaker Active Matching) system, which offers phase alignment for a list of speakers, like the Cenya, custom tailored to the individual speaker.  S.A.M. also offers bass equalization/compensation in the DSP domain that extends the frequency response cleanly down to 25hz. This had just become available at the end of this review, so watch for a follow up when we’ve spent more seat time with it. The short story is that it works incredibly well. You’ll swear there is a subwoofer in the room!

My history with Penaudio goes way back to the Serenades that we reviewed in issue 4 and that ended up as my reference speakers for a couple years. I’ve always appreciated Penaudio founder Sami Pentilla’s ability to build speakers that combine understated good looks and natural tonality in a compact form. The tiny Cenya is no exception. It looks like a slice of the Serenade, with a 6-inch woofer and a 1.25-inch soft dome tweeter, and it is available in a wide variety of finishes.

This particular pair comes in the high-gloss white that was the rage at this year’s Munich High End show. Considering psychoacoustics, this may be the best color for these mini monitors, as it lets them disappear even further into my listening environment, which is painted Ralph Lauren Studio White. A knuckle rap demonstrates cabinet rigidity, which contributes to the speakers’ stellar bass response and freedom from cabinet-induced vibration.

Super Simple Setup

As with any high-quality pair of mini monitors, the Cenyas benefit from doing two things: placing them on massive stands and providing a solid coupling between the speaker and stand. Though not as attractive as the Cenyas deserve, a pair of 24-inch sand-filled Sound Anchor stands works perfectly, with a set of small Isonode feet ($19.95 for a set of 4; available from Bright Star Audio) providing an ideal mechanical interface.

The Cardas Clear Light speaker cables also work well with these speakers, but for those requiring a bit more zip and high-frequency extension, the Graditech speaker cables provide it. They prove a perfect match for the Conrad Johnson LP125sa power amplifier, while the Clear Light cables are a more balanced solution (for these ears, anyway) with the Devialet.

Final speaker placement takes about 15 minutes, with a bit of fine-tuning after the Cenyas have about two weeks of major break-in. Like all of the other Penaudio speakers we’ve auditioned, a good week’s worth of listening to dynamic music at moderate to high volume does the trick—though they do sound fabulous right out of the box.

Jah Wobble’s Japanese Dub leads the way into a long session of bass-heavy tracks that help define the low-frequency response of the Cenya2. The official specification is +/–3 dB from 45 to 28,000 Hz in an anechoic chamber, and thanks to a little bit of room gain, the Cenya 2s reproduce the 40 Hz test tone on my Stereophile Test CD with ease, though bass response falls off rapidly after this. For most musical material, this will rarely be an issue, considering the quality of the bass that the speakers produce. Again, this was all done without S.A.M. engaged on the Devialet.

A Nimble Performer

In a modest-sized room with first-class amplification, the Cenyas will spoil you. Thanks to their small front surface and high-quality SEAS tweeter, they throw an expansive soundstage that not only extends beyond the speaker boundaries but also past the wall boundaries.

When I revisit Springsteen’s The Wild, The Innocent & The E Street Shuffle, it’s a pleasure to hear the nuance in his young voice and, even though the recording is only mediocre, the coherence provided by this high-quality two-way speaker makes it come to life. As with the previous Cenya iteration, the new Cenya exhibits a transparency much like an ESL. The Hammond organ at the beginning of “Kitty’s Back” remains in the air, slightly above the speakers, lingering in the room as though through my Quad 57s, but with more punch and dynamics.

The Cenyas excel at keeping the musical pace intact. The rapid-fire drum beats in Blamstrain’s “Dog Song” stay solidly anchored in the middle of some dreamy synth riffs, while the deep bass line fills the listening room without blurring the spacey presentation, until the volume is turned up well beyond a reasonable level. This is the only limitation of these petite Finns: They can only move so much air, and when pushed past their limit, they compress rapidly. However, I think anyone demoing a pair of Cenyas for the first time will be surprised at just how loud this level is.

Of course, the vocal performance of these speakers is beyond reproach. Those preferring more audiophile faire will be highly satisfied at the deftness with which the Cenyas project both male and female vocals. Whether you love Tom Waits or Shelby Lynne, the speakers deliver the goods.

Compatibility

With a sensitivity rating of 86 dB, the Cenyas work better with more power, though in my small room, even the 25-watt-per-channel 845 SET amplifiers at my disposal prove adequate, albeit not able to push the speakers as far as the 120-wpc Devialet can.

Regardless, the Cenyas are very tube friendly in a way that my Serenedes never were. The McIntosh MC275, PrimaLuna DiaLogue Monoblocks and the new C-J LP120sa vacuum-tube amplifiers all work well with the Cenyas, delivering great dynamics, extended HF response and good damping of the woofer cones without issue.

The Cenyas are equally versatile with solid-state amplification, from about 35 wpc on up, proving a good match with the 35-wpc Naim Qute2, the 50-wpc Rega Brio-R and the 60-wpc Pass Aleph 5—all reasonably priced yet high-performance small solid-state amplifiers.

Surprisingly, the Cenyas are transported into another world with the 300-wpc Burmester 911 MK3 and the similarly powered Pass Xs 300 monoblocks, though it is hardly likely that someone would spend $30,000 to $80,000 on amplification for a $4,000 pair of speakers—though, if you do, these little beauties are up to the task.

The $4,000 Question

If you are looking for maximum performance with minimum footprint, look no further than the Penaudio Cenyas. They will do justice to whatever ancillary components you have at your disposal and they produce way more music than you would expect from a speaker this diminutive in size. Highly recommended.

Penaudio Cenya monitors

MSRP: $4,000 per pair

www.penaudio.fi

PERIPHERALS

If you’ve ever had the opportunity to audition Burmester loudspeakers, you know they mate perfectly with the company’s electronics and that, together, they put forward a very dynamic, powerful presentation. And, as founder Dieter Burmester is a bass player in his spare time, his speakers are never lacking in low-frequency authority.

In a fairly good-sized room, pairing the hefty Burmester 911 amplifier (or the larger 909) with Burmester speakers makes for highly engaging listening. But for those of us wanting the Burmester experience in a smaller room, the B10s—which are only about 15 inches tall, 9 inches wide, and 11 inches deep—deliver just that. They fit on a pair of stands; I use sand-filled Sound Anchors in my modest 11-by-13-foot listening room.

This understated-looking pair of two-way speakers is something of a happy accident. Originally designed as personal reference monitors for Dieter’s studio, they became part of the product lineup and they make for an excellent match with Burmester’s smaller 101 integrated amplifier and 102 CD player, which we review here. With an 87-dB sensitivity and 4-ohm nominal sensitivity, the B10s are obviously geared towards Burmester amplification, but they work great in the context of any system, whether tube or solid state.

For initial break-in, I run the B10s for a few days with the Devialet 110 (now upgraded to 120 status) in my second listening room, merely swapping out the Stirling Broadcast 88-B8 speakers (also 87 dB) that have been in for review for some time. This could not have been a more night-and-day difference; it was like going from a mid-1980s Mercedes 300 turbo diesel (the Sterlings) to a current AMG C63 (the Burmesters). There’s more resolution and extension everywhere, and even though these are fairly small speakers, the signature Burmester low-end performance is there in spades.

The Burmester B10s have an MSRP of $9,000, without stands.

Initial Listening

Once settled in, my Devialet/Meridian combination goes out and in comes the Burmester 101/102 combination, which proves very interesting, as this amplifier is Burmester’s foray into class-D design—no doubt as a result of the company’s work on high-end automotive audio systems. For those already familiar with the Burmester house sound, (read: slightly warm for solid state), the 101 does not disappoint; it lacks the slight haziness and harshness normally associated with these designs.

Listening to Thomas Dolby’s “I Scare Myself,” I find that the B10s exhibit excellent pace, keeping the deep bass line firmly anchored in place, as the synthesizers float about the soundstage with plenty of width and depth. Interestingly, the B10s use a dome tweeter where the rest of the Burmester line uses a ribbon/AMT driver. Ribbons in general tend to elicit a polarized response from most music lovers, and reviewer bias admitted, it is not my favorite driver, so I find myself very drawn to the overall sound of the B10s, especially since I have a soft spot for well-designed two-way loudspeakers.

Setup is simple and straightforward. As with any compact high-performance monitor, a pair of rigid stands is a must in order to extract the best possible performance. Burmester does make its own stands, which are more attractive than my Sound Anchors, but the Sound Anchors are very dense stands and so they are a great match for the B10s. Putting the speakers on less-massive stands does, in fact, compromise bass extension and focus, so regardless of which way you go, don’t set these speakers on weak stands or you will be disappointed.

Seat Time

The more time spent with the B10s, the more comfortable I become. Expanding the musical palette reveals no shortcomings, with the only thing missing being the extremely low frequencies of large floorstanding speakers. Yet, taking advantage of the room gain in a small room, the B10s do not disappoint, even when playing tracks from Deadmau5, Pink Floyd and Mickey Hart. Though it might seem counterintuitive with a $9,000 pair of speakers, the B10s deliver more low-end heft with a larger amplifier—in this case, my reference Burmester 911 MK3, which has been in service for some time now.

Listening to the new Black Keys album Turn Blue is much freakier with the added power of the 911 driving the B10s. The fuzzy guitars come alive with more weight, bite and roundness, while the vocals seem more real and full of life. A similar experience is had with Pink Floyd’s classic album Wish You Were Here. The title track comes in with barely a whisper as the acoustic guitar spikes up, standing out clearly in its own acoustic space. The smaller 101 amplifier, though similar tonally to the 911, flattens the leading in and trailing off of sound ever so slightly, though it is still involving and something you wouldn’t notice if you didn’t happen to have a 911 hanging around.

As hinted at earlier, the B10s will work fine with vacuum-tube amplification, suggesting that they have a well-designed crossover network, though you can expect that a slightly softer sound will reflect what comes out. The 35-watt-per-channel Van Alstine Ultravalve renders a very mellow performance, per its character, while the 125-wpc Conrad Johnson LP120SA+ is much more authoritative and incredibly deep. While these comparisons offer different flavors than the Burmester amplification, the experiment is a ton of fun, turning my listening room into a fishbowl full of music—not necessarily real, but highly engaging.

Keeping It Real

The B10s rock with authority and image like crazy, but they do not present an overblown sense of perspective, preserving tone and timbre with acoustic instruments. The Jung Trio’s Dvorak Trio in F Minor Op. 65 quickly demonstrates how well these small monitors keep violin and piano sorted, especially the violin. This masterfully recorded piece is so clean that any hint of harshness in a system will be revealed instantly. The B10s pass this tough test with ease.

The subtle brushwork at the beginning of Thad Jones’ “April in Paris” is equally impressive. As Jones’ smooth horn gently glides into the mix, it’s easy to hear him move ever so slightly across the soundstage, and the B10s nail the subtle phrasing of this jazz master, delivering a very emotional experience.

Chrissie Hynde’s highly processed vibrato in the Pretenders’ self-titled debut is perfectly rendered through the B10s. Each of her breaths on the track “Private Life” comes through the mix with an exciting sense of immediacy. Shelby Lynne’s not bad either, so the audiophile whose taste leans more towards female vocalists will not be disappointed with these speakers.

Going through record after record, I find that the design and meticulous build quality that goes into the B10s (like that of every single Burmester product) is evident. These speakers may look understated and simple, but the musical result is fantastic. A perfect match for an all-Burmester system, the B10s will also mate fantastically well with a non-Burmester system. They may even pull you further into the world of Burmester.

Burmester B10 speakers

MSRP: $9,000 per pair

www.burmester.de

www.rutherfordaudio.com (North American importer)

PERIPHERALS

Colors, like fashions, change in such a fluid manner that at times you don’t even realize that they’ve happened.  Pretty soon everyone is wearing skinny jeans and you’re caught without.  The same could be said with the color orange.  It snuck in a few years ago on a few Lamborghinis and now it’s everywhere.  Even yours truly has a bright orange (make that Valencia) BMW and the color has really caught on – it’s a happy color.

Perhaps nothing is more happy than a 550 horsepower Jaguar F-TYPE coupe (or coup-eh, as the Brits like to call it) in Firesand Metallic.  While it is stunning on the F-TYPE convertible, the coupe takes the excitement to another level entirely.  The biggest question posed by many auto enthusiasts and critics at the launch of the convertible was “how about a proper hardtop roadster in the style of the legendary E-TYPE?”  When the Jaguar gods decided that the concept would go to production, the next curiosity was to see how close the final car would resemble the design brief.

At times, it’s best to keep your top on

The results are indeed smashing, and the coupe succeeds on every level.  It not only casts a sleek silhouette, the additional rigidity of the coupe improves on the already highly competent roadster chassis, sharpening the handling even further.  You don’t really notice it until you drive the two back to back – the hardtop really gets the nod for driving purists.

This is made perfectly clear while behind the wheel of the coupe at Willow Springs Raceway with Davy Jones (not the ghost of the Monkees, but the ‘96 winner of the 24 hours of LeMans) in the passenger seat telling me I’m braking too late, repeatedly.  Where the ragtop feels great for a convertible, with no scuttle shake, the coupe is a few major degrees more crisp, with no sense of squirm under hard braking, or making a slight course correction in the midst of a high-speed sweeper.

Serious music enthusiasts will enjoy the coupe for yet another reason: the 380-watt Meridian sound system that comes standard with the F-TYPE.  An extra 1,200 dollars steps you up to the 12-speaker, 770-watt Meridian system.  We described the system in depth in Issue 58 and concluded that with the increased cabin noise of the soft top, the upcharge for the bigger system is hardly worth it; however the coupe is a different game entirely.

The dual purpose exhaust system stays quiet while tooling around town, giving the F-TYPE the civility of a luxury sports sedan, yet when the accelerator pedal is mashed to the floor, the baffle opens, providing more than enough growl to feel sporty.  Even more so with the 550 hp, supercharged V-8.

You don’t have to drop 100k to have fun

Don’t let the evil British villains in the Jaguar commercial fool you: you don’t really need 550 hp to enjoy the F-TYPE.  While we didn’t have any of the $65,000 base model cars with a meager 340hp V6 at our disposal, the 380hp supercharged V6, priced around $75,000 with a few options is still no slouch, getting from 0–60 at 5.1 seconds and having a top speed of 172mph.  This should be good for all but those needing to leave the scene in the most fiendish manner.   Interestingly enough, the V6 felt a bit better in the convertible, even though it specs the same in the coupe and all of the auto journalists present made the same observation.

Again, the folks at Jaguar made the comparison to the iconic Porsche 911, as if it were the benchmark they are striving for.  And again, after having driven more than a few 911s since the convertible launch and now, I maintain that they are entirely different automobiles.  If I were in the income bracket to afford it, I’d have both in my garage.

Obvious comparisons

The current Carrera is more capable at the limit – and as good as the 8-speed ZF auto box is, Porsche’s PDK is still the one to beat, offering a connection to the road like no other.  When driving in more subdued situations, the Jaguar gets the nod, being way more sporty than a Mercedes SL or BMW Z4, yet more posh than the current 911.

The F-TYPE offers two driving modes, standard and dynamic. Dynamic is the more sporting mode, stiffening the suspension, altering the shift points and programing the torque vectoring more aggressively.  This innovative system feeds more power to the inner rear wheel, while gently applying braking to the outer rear wheel, offering tremendous driver control.  This was instantly evident when we took the cars out on the skidpad at Willow Springs Raceway for a brief drifting session.  When disengaged, it takes the skill of a professional driver to keep the tail in line, yet with the driver assist engaged, the F-TYPE practically defies the laws of physics, even in the wet.

Hard top or soft?

My experience has been that those loving topless motoring won’t care about most of the coolness built in to the F-TYPE coupe because the top doesn’t go down.  Where the classic E-TYPE convertible still stands as one of the most beautiful automobiles ever made, the coupe was always somewhat of a homely stepchild.  This is not the case with the F-TYPE coupe – it is easily as beautiful, if not more so, as its soft-top sibling.

Much as it is with high end audio gear, it’s tough to call a $75,000 to $100,000 car a “bargain,” though in comparison to its competitors from Porsche and Mercedes, the F-TYPE certainly offers excellent value.  And if you don’t need the prestige of an Aston Martin badge, the new Jaguar is a steal.  Having spent plenty of time in both the DBS and Vantage, I can’t see why anyone would want to shell out the extra dough for an Aston, when the Jaguar is so capable.  — Jeff Dorgay

In the years since Bowers & Wilkins introduced the Zeppelin (now the Zeppelin Air), there have been many imitators, but no one has really come close to the combination of form and function that this innovative British company started.  Until now.

I got my first glimpse of the Crescendo at this year’s Consumer Electronics Show in the MartinLogan room – I thought it was a static display and I was listening to a pair of class-leading ElectroMotion speakers.  When informed that I was listening to the Crescendo, it was a revelation.  Hard to believe a desktop player could not only sound this good, but throw such an expansive stereo image.  Justin Bright, MartinLogan’s PR guy, smiled and said, “You can hook it up to one of our subs for an even bigger sound,” which had me thinking about other possibilities.

Not everyone is brainwashed by Bose.  Many want decent sound, don’t want to become audiophiles, yet sheepishly know that a Wave Radio is wrong.  They always have that guilty look in their eyes when they ask, “So what should I buy?”  Without question the Crescendo is the way to roll.  For $895 you can’t beat it.

Major tech under the hood

The Crescendo utilizes a lot of existing MartinLogan technology to work its magic.  The same folded motion tweeter design from the ElectroMotion speakers is at work underneath the grille, along with a 5×7-inch midwoofer speaker, crossed over at 3,600 Hz, so the effect is stereo up beyond that.  It works remarkably well, giving as much of a stereo impression of any of the other tabletop portables I’ve experienced.

Combining a 50-watt amplifier for the woofer, a 2×25-watt amplifier for the tweeter and a full-blown DSP preamplifier, the Crescendo produces room-filling sound with ease.  Blasting “Firehouse” from KISS 40 proves that the Crescendo is not just a pretty desktop with no guts. A long playlist of Nine Inch Nails (played at equally high volume) without damages to the Crescendo underlines its robustness.

The Crescendo is equally adept at moderate volume levels, and those enjoying more subdued fare will be just as happy as the headbangers in the audience.  The subtle, waif-like vocal shadings of Sharon Van Etten on her Tramp LP are reproduced with the delicacy required.  Equally delightful were the textured vocals in Jonsi’s GO.

Setup as easy as one, two, three – well six, actually.

There are six different ways to connect to the Crescendo:  Via WiFi, Bluetooth, USB, line level, Toslink and a standard wired Ethernet cable, so no matter what you have, you’ll be able to plug in.  I made it a point to try them all and had equally good luck.  The enclosed quick start guide is very concise and this device works as described, so no matter what level of geekiness you posess, you should be up and running in a few minutes.  The folks at MartinLogan have produced one of the best instruction manuals I’ve come across in years, so take ten minutes and read it.

As cool as this all is, the subwoofer output really adds to the Crescendo’s oomph.  Not only can you use a wired subwoofer (with a switchable crossover at 80 Hz), Paradigm’s PT-1 wireless subwoofer controller and Monitor Sub 10 make for a killer combination.  Adding an $849 subwoofer to the Crescendo might seem like overkill, but seeing I just happen to have these two items as reference components in my home theater system, it seemed like a smashing idea.  Those on a more reasonable budget might want to consider the Paradigm Cinema Sub at $349, though you do give up wireless capability.   It only took about 30 seconds of LL Cool J’s “I’m Bad” to convince me that adding the sub was a ton of fun.

For those going sans subwoofer, where you place the Crescendo will weigh heavily on its bass output. Even though you can boost the bass with the “bass mode” switch on the aluminum remote, this won’t be quite enough should you place the Crescendo in the middle of a room or on a freestanding table.  Take advantage of room and surface gain – install the Crescendo against a wall or even in a room corner if possible.   Just as you would with your favorite pair of conventional loudspeakers, experiment with position until the perfect balance between midrange clarity and bass weight is achieved.

A lovely package

The gorgeous, half-moon shape, available in black or walnut complements any décor and it fits marvelously in my little mid-century modern abode.  So much so, that I might just be keeping the review sample. As cool as the Crescendo is, I think the folks at the MartinLogan custom shop, the same skilled artisans that produce MartinLogan ESL speakers in custom finishes, should offer a hardwood upgrade for the Crescendo.  No doubt this baby is going to make its way into some stylish abodes – why not go all the way and really make it a work of art?  I’d happily pay extra for this option.

Though the MartinLogan Crescendo has a winning combination of sound quality, build quality and ease of use, it’s a truly fun experience.  Thanks to its wide range of connectivity, anyone can plug in, whether literally or wirelessly and be enjoying their music in seconds.  And enjoy it you will.

MartinLogan Crescendo

MSRP: $899.95

www.martinlogan.com

Is the Gemini 2000 a headphone amplifier? Is it a headphone dock? Is it a DAC? Well, yes. Through the Gemini, Hong Kong-headquartered AURALiC creates a design that manages to pack all that into an attractive and great-sounding component. For those seeking a headphone-based desktop system, this AURALiC offers a turnkey package.

Headphone stand

At first glance, the most eye-catching and unique feature of the Gemini is its headphone stand, licensed from Klutz design. Standing about a foot tall with graceful curves, the stand not only looks great, but it offers a secure way to display your favorite headphones and keep them at the ready. AURALiC offers a lot of color options including a glossy white, black, yellow, blue, and the bright red of our review sample. In addition, there’s a choice of a shiny gold or silver base finish. With so many choices each prospective owner is bound to find some color combination to his or her liking.

Acting as a headphone stand, the Gemini certainly has stability and heft. The base of the unit is quite heavy, and lifting the unit makes me feel as if I’m accepting a hefty Oscar statue. The Gemini is not likely to tip over with your valuable headphones draped over it. Another really nice feature of the stand is the ability to wrap the headphone cord onto it, keeping the desktop tidy. Metal pegs at the top and bottom facilitate the process, acting in a similar fashion as the electrical cord holder on an upright vacuum cleaner.

The business end…

The stand element by itself may look impressive, but the real design feat is squeezing the DAC and amp into base of the unit, about an inch tall with 5.5-inch diameter. Each Gemini comes equipped with a 4GB SDXC card which includes Windows computer drivers, a manual, and some sample music.

The Gemini 2000 we reviewed also has a little brother, the 1000. The main difference between the two is the option of a balanced headphone output on the former, and the amount of power output. The Gemini 1000 offers 1000 milliWatts (a.k.a. one watt), and as you might guess, the 2000 offers double that. We didn’t have the opportunity to compare both units side-by-side, but I expect the 1000 would have adequate power to meet the requirements of many headphones.

The lower, narrow part of Gemini 2000’s stand offers ¼” headphone output on one side and a balanced output on the other. Those who desire a mini-output will need to use an adapter.

Tiny red LEDs grace the circumference of the base’s top, indicating the user-selected volume, input source, and file resolution. Equally diminutive buttons on the side of the base facilitate power-up and source changes, while the knurled edge of a scrolling wheel adjusts volume. AURALiC doesn’t label “Volume” as such though. Instead, it humorously claims, “Niceness.”  Moving the wheel, I have to agree with the nomenclature. Until you get used to placement of the controls be sure to bring your reading glasses because these labels are almost microscopic.

DAC

With some trickle-down technology from AURALiC’s marvelous Vega DAC, the Gemini’s DAC is capable of decoding high resolution files including CD-standard 44.1k, 48k and DSD, double DSD and DXD.

In addition to the standard USB connector, there’s the uniquely shaped digital input for Android phones and tablets.  Finally, those with a Toslink-enabled CD player or Astell & Kern player can purchase the appropriately terminated cable for connection with the Gemini. As mentioned earlier, Gemini sports a SDXC card slot, and depending on the card’s capacity, quite a bit of music can reside within the amp itself, controlled by the connected computer with included software.

Connecting the Gemini to a MacBook Pro laptop proves a breeze. After tethering the Gemini to the computer via the included USB, simply go to the System Preferences, and under the sound options AURALiC appears as a selectable option. Once done, iTunes recognizes the change immediately and diverts all sound to the Gemini. For those using Windows-based computers AURALiC provides a Gemini driver to facilitate the interface between the two machines.

Amplifier

Gemini 2000’s shiny base sports a class-A amp design that takes all the DAC, feeds it, and generates great sound. As with the DAC section, the amp benefits from trickle-down technology borrowed from AURALiC’s Taurus II headphone amp. Class-A circuits, in addition to great sound, generate a lot of heat and the Gemini is no exception. Seriously, if the amp remains powered up for an extended period you won’t want to handle the metal base. That’s one hot potato! Don’t worry though; it is designed to act as a heat sink and to handle the temperatures safely.

Listening

Borrowing a few pairs of headphones for this review, I had the opportunity to listen though Audeze LCD-X, Sennheiser HD-650, and others on hand. Two watts produced by the Gemini 2000 proves more than enough for the driving power needed to make all the headphones sing. Trying both the single-ended (1/4”) and balanced outputs, sound is quite similar, but with a bit more detail retrieval and bass substance though the latter.

CD-quality 44.1 KHz or 48 kHz songs render very nicely through the AURALiC. There’s never the singe of high frequency edge, and midrange portrays both vocals and instruments well. Piano, trumpet and cymbals on Enrico Rava Quintet’s “Tears for Neda” demonstrate the Gemini’s prowess with the nuances of instrumental jazz.

When listening to some rock tracks with Apple Lossless files, bass through the Gemini can appear slightly subdued. It’s not quite as robust and punchy as some other amps I’ve heard. However, what’s there is both tuneful and enjoyable. To my ears, the Gemini’s overall sound signature is well-voiced and slightly warm, focusing on the bigger musical picture more than every minute, ambient detail. Switching to the Sennheiser HD-650 reveals similar sonics from the Gemini.

Listening to higher fidelity DSD files truly gives the Gemini a chance to sing. Listening to Bob Marley’s “Three Little Birds” with high res, the soundstage opens up, and every aspect of the musical spectrum comes further to life, bass included. Similarly, listening to the title track from Paul Simon’s Graceland on DSD offers a sonic treat. Background vocals, various types of percussion and other instrumentation float into the soundstage and with a more pronounced attack and decay. The driving guitar and bass give a sense of speed and energy to the recording, and Simon’s voice remains very upfront.

For those who have invested in DSD-quality files, you’ll definitely get more mileage out of them through the Gemini. If your digital collection does not yet have any, this amp is a very good incentive to take the plunge in purchasing a few favorite albums.

Is the Gemini 2000 right for you?

After experiencing the Gemini 2000, I find myself a fan of its modern, practical design and the very good sound it produces. Indeed, there’s a lot to love! However there are three considerations a potential buyer should be aware of. First, the Gemini is designed primarily for use in a desktop scenario. There’s no battery-powered option so the electrical tether is a must. Obviously, this isn’t the kind of portable setup you will take with you on a plane.

Second, for those who want to bypass the Gemini’s DAC and input an analog source from an iPod or a turntable directly to the amplifier, you are out of luck. The unit does not offer an RCA or a mini-jack input, so many portable sources prove incompatible with a Gemini rig. To be fair though, the Gemini’s DAC is quite good, so there’s not a lot to be achieved from bypassing it anyway.

As a last minor quibble, there’s not a manual impedance selector to help optimize the feed to a variety of headphones. While the Gemini is no slouch regardless, it’s nice to have some options to experiment with to ensure your ‘phones are giving a listener the best sound they are designed to provide.

If those caveats are no concern to you, the Gemini 2000 could become your new best friend at home or at the office. The form factor is elegant and practical, with options to match any décor or preference. The sound it offers is very good, and it pairs well with the headphones I had on hand for testing. A key benefit with the Gemini 2000 is price-performance. In the often-expensive world of hi-fi, $1,995 is a reasonably small investment. Heck, the Audeze headphones cost almost that much. For all the technology packed into this marvel the price tag is very reasonable. Trying to buy a top-of-the-line headphone stand, DAC, and amp as standalone units will cost a lot more. Do keep in mind that the Gemini 1000 costs $995, so if you need only a single-ended ¼” headphone output and can get by with less power, it might be a more economical alternative. Either way, if you seek an all-in-one solution for personal hi-fi, do yourself a favor and check out the Gemini!  –Jerold O’Brien

Further Observations

It’s rare that Mr. O’Brien and I agree on things like this, as he’s more of a “performance is everything” kind of guy and I’m more of a “but it’s gotta look cool” kind of guy.  And though we enjoy the Gemini 2000 for different reasons, I was hooked the minute I saw the cool shape.  Knowing what AURALiC has accomplished with everything else we’ve auditioned, I had a strong hunch it would sound great – and I was not disappointed.

I don’t think I’ve ever had a more conversation-provoking piece of audio gear.  It looks marvelous sitting front and center on the Noguchi table in my living room with a pair of Audeze headphones perched on top.  Guests to my home always beg to play with it, and for me, that’s what the world of audio needs – more “ooh, can I touch it?”

Think of the Gemini 2000 as a headphone hookah.  Display it in a prominent place and let everyone partake!  While the performance is world class, the style points are off the chart.  Get the party started.  –Jeff Dorgay

AURALiC Gemini 2000

MSRP: $1,995

http://www.auralic.com

For many audiophiles, their journey with electrostats began with the legendary Quad 57—but not mine. As someone who really likes to rock, I spurned the audiophile approach and preferred to rock the house with my Altec 19s and a big McIntosh power amplifier. When our publisher Jeff Dorgay was giddy as a school girl with his first pair of Magnepans (turning his back on his beloved Cerwin Vegas speakers driven by a Phase Linear 400), I remained steadfastly nonplussed: They did not rock. I was equally unimpressed by his brief bout with a pair of Rogers LS3/5As. Fortunately, that phase passed quickly.

But one evening, Jeff bribed me with a lot of beer for helping him move a pair of Acoustat 2 speakers into his listening room. Little did I know that my life was about to change. I rolled my eyes, thinking, “Here we go again, another lame pair of panel speakers.” And on initial power up, these relatively small panels that only had about an 83 dB sensitivity rating did not impress. However, two days later, after the ESL panels were fully charged, these little Acoustats rendered music in a very interesting way, with a clarity and presence that the Magnepans just couldn’t muster and a delicacy that I had not yet experienced. They still needed a lot of power to move some air, and when these speakers were replaced with the much bigger 2+2s, I finally “got” the ESL thing—and I’ve remained a lover of the style ever since. But I tended to prefer the 1+1s, partly because they always remind me of the monolith in 2001: A Space Odyssey.

Charity Begins at Home

Perhaps the best thing about having audiophile buddies, especially ones that have a bit of adult ADD, is that they can’t sit still for very long, meaning there are always great deals to be had if you wait long enough. Car enthusiasts seem to be that way too. And camera enthusiasts, but I digress…

While the model 2 always seemed a bit congested and lacking in ultimate focus, with the 2+2 a little bit too round on the bottom end, my goldilocks speaker has always been the 1+1. Essentially the 2 with the panels on top of each other, rather than side by side, the 1+1 creates sonic images like few other speakers can, even today, thanks to a panel width of about 9 inches and a floor-to-ceiling height.

Back in the 1990s, I had a set of 1+1s that I paired with Jeff’s old Audio Research D79, and it was a match made in heaven in my 11-by-14-foot room. The 1+1s even generated decent bass and, just to be sure, I bought a pair of Quad 57s just to compare—not even close! Yes, the Quad has a midrange purity that is arguably tough to beat, but for this guy, the much greater low-frequency response and dynamic range of the 1+1 make it a more interesting daily driver.

Back to the Future

Driving today’s 1+1s with a pair of 100-watt Pass Aleph monos, combined with an ARC SP-11, makes for a kick-ass vintage system on a reasonable budget. Borrowing a friend’s D-79 to pair with the 1+1s brings back great memories, with a bit more romance through the midband, but the class A Pass amps make for more control and more bass wallop (not to mention eliminating the need to track down suitable tubes).

The original Acoustat ESL panel is nearly indestructible, but the power supply/interfaces are starting to have issues, mainly due to expired capacitors, with most of these speakers now over 30 years old. Thanks to speakers’ straightforward design, those handy with a soldering iron can easily replace the capacitors, and while you’re at it, take out the cheesy internal wire and replace it with a bit of your favorite premium wire from Cardas or Kimber, for a little more zip in the transparency department.

Later-model examples featured interfaces with the coveted “medallion upgrade,” improved transformers that coupled the panel to your amplifier and were wired with Monster Cable inside. Those of you with these speakers will notice that they’ve turned a nice shade of green, which is a wonderful patina for a copper roof, but not the greatest thing for an audiophile speaker.

You can send your interfaces to Roy Esposito at Audio Haven for a full refurb for about $600 a pair. We went this route and it was money well spent. Roy is semi-retired and a great guy, so don’t pester him to hurry. Let the man do his thing in peace and quiet. About a month later, your Acoustats will sound better than new, and he works on all models.

Setup of these speakers is a breeze: Move them about 3 feet from your back wall and start with the speakers about 5 feet apart; move them farther apart in 6-inch increments until the stereo image falls apart; then move them slightly back toward the center; and play with a touch of toe-in until you achieve imaging perfection.

It’s worth noting that a little bit of room treatment goes a long way with the Acoustats. I’ve always achieved the best results with some absorption right at the first reflection point, and either absorption or diffusion directly behind the panels will yield a more precisely focused stereo image. If room treatments are not an option, try moving the speakers slightly farther out in the room, however you will sacrifice a bit of bass extension by doing so.

Getting Some

If you’re looking for an alternative to a pair of Quad ESLs, I can’t suggest a pair of Acoustats highly enough, regardless of whether you have modern or vintage electronics. Unlike my other favorite electrostat, the MartinLogan CLS, the Acoustats are a bit easier to drive with tube electronics, but you sacrifice some of the CLS’s ultimate resolving power.

A clean pair of Acoustat 1+1s, with either cream or black grille cloth, should set you back about $600 to $800. As the grille cloth (or socks, as they’re often called) is nearly impossible to find these days, try to find a pair that have not been physically damaged. Should yours be ravaged by age, dirt or even cigarette smoke, an overnight soak in the tub with a potent elixir of bleach and OxiClean followed by a spin in your washing machine’s gentle cycle will have the cloth looking much better. Experience has taught me to dry them in the fluff cycle only—you don’t want any heat. Even though the socks are made of a synthetic material, there’s no sense in taking the chance of shrinkage. Resist the urge to dye them a funky color—or not. The vintage look of these speakers is definitely part of their appeal. – Jerold O’Brien

As the sound-level meter bounces above 105 dB during playback of the title track from Iron Maiden’s The Number of the Beast (and I see nods of approval from the non-audiophile buddies present to take this all in), I’m reminded that you need big speakers that can move a substantial amount of air to really enjoy this kind of music. The same can be said for Mahler’s Symphony No. 5 or Deadmau5, if Maiden is not your favorite faire. Dynamic swing and contrast is a big part of recreating the illusion of live music in your listening space, and a large pair of speakers with the appropriate amount of power gets the job done.

In the day where $200,000 speakers are becoming more and more common, Dynaudio’s top speaker tips the scale at only $85,000 per pair. Yes, yes, the word only is going to offend a lot of people, but if you happen to be in the market for a six-figure pair of speakers, this level of greatness for $85K is a bargain—it’s all relative. After living with the Evidence Platinums for some time now, I see no need to drop $200K on a pair of Wilson XLFs. And that’s enough money left over to put a new Porsche GT3 in your garage. I know what I’d rather buy.

A number of things make the Evidence Platinum speakers unique. Though they are over 6 feet tall, they carve a very small footprint in your listening room, and thanks to a wide range of wood finishes, along with piano black, they should blend in with any décor. While minimalist yet tasteful grilles are included, the precision craftsmanship of the front sculpted baffles beg them to be left uncovered. Those without large pets or small children will have an easier time leaving the grilles off.

No Limitations

Much like a high-performance supercar, the Evidence Platinums have few limitations. And just as an Aston Martin feels different from a Porsche or a Ferrari, all three cars still provide stellar performance way beyond that of normal transportation. Sticking with the automotive metaphor, the Evidence Platinums remind me of the Audi R8: a new concept that offers similar if not better performance than its contemporaries—and with a bit more style. The Dynaudios are definitely one of the most svelte large speakers around.

Having lived with Dynaudio’s much smaller Confidence C1 Signatures for a few years, I notice a striking parallel between the two speakers. The comparatively diminutive C1s, with their highly optimized front baffle, present a musical picture almost like a point source, while the massive Evidence Platinums simply disappear. In a small room at low volume, with equally high-quality electronics driving the speakers, you’d be hard pressed to tell the difference, other than on the deepest low-frequency excursions.

However, in a larger room, when the sound level comes up and dynamic expectation increases exponentially, the Evidence Platinums justify their price tag. Queuing up the Stereophile test CD reveals solid bass performance at 25 Hz, which is lower than what you’ll need for most program material. Playing Mickey Hart’s “The Eliminators” at high volume confirms the measurement; these speakers can punch you in the chest—hard. The four 7-inch woofers move more air than a single 12-inch unit; yet, because of their small size, they are faster, providing mega bass with maximum tone and definition.

The Evidence Platinums make it a breeze to discern between bass players and their respective styles: The difference between a Hartke bass-guitar amp with aluminum cone drivers and a vintage Ampeg amp with paper cones is now easily apparent. This is what adds so much to the musical experience, making your music so much more immersive. And that’s what you should get when you write the big check.

Top-of-the-Line Technology

Dynaudio has left no stone unturned with the Evidence Platinums, taking advantage of the company’s top technological advancements. Relying on silk dome tweeters since the beginning, Dynaudio’s design requires a very labor-intensive process that involves shaping the fine-fabric dome and treating it with a specially formulated coating. The “Precision Coating” used throughout the Platinum range is Dynaudio’s latest refinement to that process. The higher uniformity of the dome’s shape results in a smoother high-frequency response and even more dispersion of mid and high frequencies.

This is clearly evident when comparing female vocals through the Confidence C1s and the Evidence Platinums. A quick spin of Ella and Louis Again uncloaks the difference in the timbre of Ella’s voice, which is already silky smooth and convincing when played through the C1s. By comparison, the Evidence Platinums dematerialize completely, even though they are so much bigger physically. This is truly the magic of these speakers: They vanish like a mini monitor and are transparent like an ESL, yet they have the drive of an enormous cone speaker.

The Evidence Platinums throw a soundstage that is staggeringly wide and deep, but they also get the height aspect right—probably due in part to their physical height. While playing the MoFi copy of Frank Sinatra’s Nice And Easy, I feel as if Sinatra is standing right in front of the speakers, with his voice coming from where his mouth would be.

Custom drivers, check. Precision optimized crossover network, check. Premium electrical and mechanical parts throughout, check. The combination of all these technologies is certainly present in most flagship loudspeakers, but Dynaudio’s DDC (Dynaudio Directivity Control) system is the heart of what makes these speakers perform the way they do.

The combination of the finely shaped front baffle, driver placement and matching the phase response of the individual drivers makes for a more focused dispersion pattern that does not require nearly as much room treatment to sound their best as do many large speaker systems. This is all trickle-down technology from Dynaudio’s professional division, taking advantage of what the company has learned building studio monitors.

Another benefit of this optimization is the ease of setting up the Evidence Platinums. We’ve spent hours (sometimes a day or more) to get reference-caliber speakers to sound their best. The Evidence Platinums sound great right out of their crates before much attention is paid to positioning. About an hour’s worth of fine-tuning brings the speakers to the point where, when Dynaudio USA’s Michael Manousselis stops by to check my work, he merely makes a few fine adjustments and then I’m on my way. These are not finicky speakers by any stretch of the imagination. Even the machined plinth offers a choice of footers for hard and soft surfaces. Once unpackaged, the Evidence Platinums only take a few days of 24/7 play at modest volume to open up and sound their best.

Still Solid, Months Later

After listening to these speakers day in and day out for months, I am still amazed and impressed. It’s easy to get carried away with premium speakers after first listen, especially after running through a number of well-recorded audiophile classics.

This is not the case with the Evidence Platinums. I go out of my way to dredge up even the worst-sounding selections in my music collection, and these speakers do a fantastic job with any program material. There is nothing I can throw at them that trips them up. Regardless of the program material and volume level, we simply cannot drive the Evidence Platinums hard enough to invoke listener fatigue.

With a sensitivity rating of 89 dB and a crossover network of 6 dB per octave, the Evidence Platinums are very easy to drive with either tube or solid-state amplification. Even in my 16-by-25-foot listening room, more than adequate volume levels are achieved with the 20-watt-per-channel Nagra 300i integrated amplifier. I would suggest about 100 watts per channel or more for best results, especially if you like to hear your favorite music reproduced loudly.

While these speakers can reproduce some great dynamic swings, they are highly linear, with their massive stereo image still intact, even at very soft volume levels—again, not unlike a great mini monitor. Chrissie Hynde’s signature vibrato comes through clearly on the original Pretenders album. The delicacy present in “Private Life” puts Hynde in the room, right near the center of the listening position.

Coupled to the amazing Pass Labs Xs300 monoblocks, with nearly boundless power on tap, the Dynaudios really come to life. As I blast Lou Reed’s The Creation of the Universe, there isn’t a point at which the wide, vivid stereo image ever collapses—no matter how high the volume. Much like the Focal Maestro Utopia speakers that we just got done auditioning, the Evidence Platinums excel at reproducing large-scale music, especially drums and percussion—and they do so without fatigue.

You Need a Pair

If you are looking for a statement loudspeaker, look no further than the Dynaudio Evidence Platinum. After six months of constant listening (and punishing) on an incredibly wide range of musical program material, I can tell you that there is nothing that the Evidence Platinums can’t handle, if you have enough amplifier power on tap.

Along with their musical performance, the Evidence Platinums offer a level of fit and finish that is in keeping with a speaker of this level. They exude luxury and will be an excellent fit for the world’s finest listening rooms, a fact that can’t be overlooked when spending this kind of money. Lastly, Dynaudio is a major player in the speaker industry, so this is a purchase that can be made with confidence, knowing the company will be around to support these speakers.

With so much capability, the Dynaudio Evidence Platinums should be your last speaker purchase.

Dynaudio Evidence Platinum loudspeakers

MSRP: $85,000 per pair

www.dynaudio.com

Though I knew little about Morel before this review, after listening to its new Octave 6 Limited floorstanding speakers, the company now has my attention. Based in Israel, Morel builds car speakers, in-walls, and various standalone options, as well as its own drivers.  Morel has been a manufacturer of premier drivers for a number of major speaker companies for some time now, however while all of their drivers share core technologies, the ones utilized in their own systems are built from scratch and customized for that individual speaker.  Everything from crossover to the drivers is done in house, except for cabinetry.

The Octave 6 Limited speaker line, which is among Morel’s mid-tier hi-fi offerings and contains some trickle-down technology from the top speakers (mainly the Fat Lady flagship speaker), includes a bookshelf/stand-mounted model, a limited-edition floorstander with larger woofers and voice coil, finished in either black or white lacquer.

Design and Setup

I put the Octave 6 Limited floorstanders through their paces. They utilize a 1.1-inch soft dome tweeter, a 6-inch midrange unit with a 3-inch voice coil, and a single 9-inch side-firing subwoofer with a giagantic 5.1” voice coil and a hybrid carbon fibre/paper cone. All the drivers are covered with protective lotus grille, utilizing a special pattern to minimize reflections and resonance – a special tool is enclosed to carefully remove these grilles for maximum sonic effect. Though they are disparately placed, the drivers display fantastic sonic cohesion.

The box cabinet is modified with some curved edges and includes a rear port. The forward-firing tweeter is molded to the top and set slightly back to ensure proper time alignment with the midrange driver, which is set into a slight bulge extending from the otherwise straight cabinet. These floorstanders are rather small in stature, measuring 38 inches tall, 13.4 inches wide, and 7.3 inches deep; they weigh about 52 lbs each.

A double set of binding posts allow for bi-amping. For those using standard speaker wire, stamped and gold-plated jumpers connect the binding posts. In testing, I found that a set of Jena Labs jumpers sound better than the stock jumpers. The speakers also come with a set of spikes to couple them to the floor.

The binding post and driver placements remind me of the Audio Physic Virgos, which I had for several years. A new pair of the Virgos cost around $7,000, so I found myself very eager to hear what the $7,000 Morels could accomplish. As much as I loved the Virgos, the Octaves prove themselves a better choice for my taste.

After an hour of scooting the Octaves around my listening room—which is 17 feet deep and 20 feet wide, with a 10.5-foot ceiling—I find the ideal placement to be about 4 feet from the front wall with a slight toe-in, thereby twisting the side-firing woofers slightly toward the rear of the room.

Sound and Performance

My reference speakers, the Piega P-10s, are larger than the Octave and in their day, the Piegas cost twice as much as the Octaves, so it’s not a fair comparison, though the Octaves offer some similarities in terms of sonic signature. They reproduce a little less detail and ambience than the Piegas, though they absolutely hold their own, filling the room with wonderful music. The Octaves create the illusion of sitting a few rows back in an auditorium during a live performance. From that perspective, a bit of lost detail is natural.

Morel says the Octave’s frequency response covers the 20-Hz-to-20-kHz range of human hearing and extends to 22 kHz. The speakers offer a high level of neutrality, more so than the Virgos, which have a slightly warm character. Considering the Octaves modest cabinet size, the amount of low-frequency information they portray is impressive. The upper and mid-bass regions remain tuneful, tight, and well defined. Frequency-sweep tracks verify the speakers can produce very low frequencies, though they roll off below 40 Hz in my room, despite experimentation with speaker placement. The Octaves do work magic, but at some point the rules of physics take over. There’s only so much stomach-tingling oomph that a small enclosure can muster.

The Octaves don’t offer the level of bass tangibility I’m accustomed to with my reference speakers. For example, passages on Pitch Black’s “Ape to Angel” leave me longing for more heft. Still, I remain amazed at what the Octaves can produce, given sufficient amplifier power. The touch of low-bass shyness I experience may not be as apparent in a smaller room.

The Octaves do a great job of high-frequency extension without tipping toward an edge of stridency or etch. They deliver plenty of detail while maintaining the music’s natural sound: accurate male and female vocals; cymbals retain their shimmer; saxophones and clarinets are rendered with appropriate woodiness; and on good acoustic guitar recordings, it’s easy to discern the difference between nylon and metal strings.

Soundstage and Dimensionality

The Octave 6 Limited speakers have the ability to cast sound in all directions, while drawing no particular attention to the physical location of the speakers. Music drifts organically and effortlessly between and beyond the speaker boundaries, immersing the listener in sound. Everyone’s listening space provides different benefits and challenges. In my room, the perceived depth of the soundstage behind the speakers is not quite as dramatic as some speakers I have encountered. However, the left, right, and vertical sonic extension rivals that of some of the best speakers I’ve heard in this space.

The Chesky Records test disc illustrates how far the Octaves can extend a sonic image into the room. One track features David Chesky beating a tom drum while walking around an omnidirectional microphone; another utilizes a surround-sound processor to simulate the same activity. In both cases, the Octaves convincingly create the auditory illusion that Chesky is indeed walking a big circle around my listening space. Though my listening chair is against the back wall of my room, it’s as if David Chesky has somehow walked behind me. Many speakers do a good job approximating this illusion, but the Octaves do a fantastic job.

To Each Their Own

The Morel Octave 6 Limited floorstanders are marvelous speakers, especially considering the value they offer at a $7,000 per pair. Across objective audio metrics and subjective musical preferences, the Octaves excel.

Those with large listening rooms, those who crave every ambient nuance of a performance, or those who prefer bass-heavy rock and electronica may want to seek larger and more expensive speakers that can better deliver those characteristics. Those caveats aside, the capability of the Octaves across the audible spectrum is extremely good for speakers in this price range—and their ability to deliver three-dimensional imaging is indeed rare for this price. If that appeals to you, head to your local Morel dealer for a demo.

Morel Octave 6 Limited Floorstanding Speaker

MSRP: $7,000

www.morelhifi.com

PERIPHERALS

Alta Audio will be debuting three new speakers at the New York Audio show on Sept 26, and will be having a press meeting in their room (313) at 1:00 PM that day.

They will be featuring the 7’2″ Statement tower, the full range Solo and the compact monitor FRM-2, which we’ve just finished reviewing for issue 66.

Features

Personal Fidelity:

McIntosh’s MHA100 Headphone Amplifier!

By Bailey Bernard

995:

Blumenstein Audio’s Thrashers

By Mark Marcantonio

Getting Personal:

An in-depth interview with Sharon Van Etten

By Jaan Uhelszki

TONE Style

The Beats Pill
By Jeff Dorgay

Space Girl Bath Bomb from Lush

The Screw Pen

Staying Green:

Living with Smart’s Electric Drive

Crowdfunding-It’s not just for HiFi anymore:

Snappy clothing from Gustin

Music

Current Releases:

Fresh Releases in the Pop/Rock World
By the TONE Staff

Audiophile Pressings

Jazz & Blues
By Jim Macnie & Aaron Cohen

Snapshot: Deep Purple
By Jerome Brunet

Previews

REL S2 Subwoofer

Alta Audio FRM-2 Speaker

Van Alstine Vision Phonostage

Rega RP-10 Turntable

From the Web

Ortofon 2M Black Cartridge

Reviews

BAT VK-3000SE Integrated Amplifier
By Rob Johnson

PrimaLuna DiaLogue Premium Preamplifier
By Jeff Dorgay

Peachtree Nova220SE Integrated Amplifier
By Mark Marcantonio

Simaudio MOON 610LP Phonostage
By Jeff Dorgay

Roksan Kandy K2BT Integrated Amplifier
By Andre Marc

I’m sorry to say we are late to the party on this one…  Ortofon’s 2M Black has received numerous accolades from nearly every hifi magazine on the planet and with good reason – it’s a fantastic sounding cartridge.

Trying to break the price/performance barrier, there are a couple of great moving coil cartridges that immediately come to mind, and Ortofon’s own SPU at $999 is at the top of my list, but all of these cartridges need a step up device of some kind, which adds to the bottom line.  Much as I’d rather have 16/44.1 digital well implemented than budget high res, I feel the same way about cartridges.  I’d much rather listen to a great MM with a well designed phono stage, than a budget MC cartridge with a less than stellar phono stage.

Enter the 2M Black.  Reasonably priced at about $700, depending on where you purchase one, this cartridge features a shibata stylus and is very easy to set up.  With an output of 5mv and a recommended tracking force of 1.5 grams, it works equally well with your favorite vintage receiver to a modern MM phono stage.  Mounted in my Thorens TD-124/SME 3009 combination, equally good results were achieved with both a vintage Sansui 771 receiver and the Decware MM phono stage in my reference system.

Previously accustomed to the current OM40 and the vintage VMS20 cartridges, there is a definite family resemblance, yet the 2M Black displays more refinement throughout the range.  Almost exactly like the Cadenza Bronze cartridge I use in my Avid Volvere SP turntable, the 2M Black features an incredibly clean midband.  This cartridge does not enhance, embellish or color the midrange in a way some other designs can.  It proves an incredibly good mate for the Decware phonostage, which is a few drops on the warm side of neutral, making up for the slight bit of soul that the 2M Black does not posess.  Again, you might view that “soul” as coloration, so if that is your preference, ignore my choice in phono stage here.

The Digital Amplifier Company—founded in 1996 and located in Allentown, Penn.—solely produces hyper-engineered, audiophile-grade Class-D amplifiers. Its products output plenty of power from manageably sized and attractive packages. The company’s Cherry line comprises stereo and monoblock variants, which are available in standard or higher-output Ultra configurations.

The company says it does not use prefabricated modules and that it designs all vital components in-house, with everything built in the Unites States. Every amplifier comes built to user specifications, allowing customers to choose standard or Ultra configurations and the amp’s color. The company sells direct to end users.

The $4,000-per-pair Cherry Maraschino monoblock model is the newest brainchild of company designer Tommy O’Brien. The Maraschinos are mighty mites, with published output power of 250 watts into 4 ohms. The parts employed are very high quality and include Dayton binding posts, Neutrik XLR inputs, and high-tolerance metal oxide resistors.

The amps feature true balanced input and external power supplies with IEC receptacles. These power supplies are upgradeable, with an available power increase of up to 800 watts. The chassis sits on a granite block, with Sorbothane feet for resonance control. The Maraschinos are produced with a brilliant, high-quality red finish (which is fitting considering the amp’s name).

Setting up the Maraschinos is pretty straightforward, with some twists. The accompanying documentation asks that the user plug in the power supplies last, after all other connections are made, and with low-level music playing through the system. There is no power switch, as the amps automatically detect a signal and come out of standby mode; when no signal is present for a period of time, they return to standby. The amplifier sensitivity is on the high side, at 2.2 volts, but that should be no issue with most preamps and sources.

The Maraschinos accept only XLR inputs, but very nice RCA-to-XLR adaptors are supplied. The adaptors are put to good use, as a passive preamp is what we put ahead of the amps, driving a pair of Harbeth Compact 7 ES3s. Sources include a variety of DACs and disc players. Cabling comes courtesy of Transparent, Shunyata, and Stager Sound.

The amplifiers very much make their identity known from the get-go, with their wonderfully open, clear, transparent, and precise sound. There are no mechanical artifacts or spotlighting of any kind. There is a top-to-bottom, even keeled balance that becomes very quickly addicting such that even familiar recordings come alive with a fresh perspective. This may be due to the Maraschinos’ incredibly quiet background. Music seems to appear out of the ether. Recordings that seemed previously homogenized now appear spacious and wide.

The amps render the Punch Brothers’ Antifogmatic with startling dynamics, precise imaging, and stop-on-a-dime timing. Chris Thile’s well-recorded vocals and virtuoso mandolin playing take on very human qualities, and the groups clever arrangement of Radiohead’s “Kid A” through the Marachinos is worth the price of admission alone.

Peter Gabriel’s New Blood, featuring new interpretations of some of his classic songs, is a hair-raising showpiece through the Maraschinos. The recording is amazingly dynamic; the use of a live orchestra in lieu of rock instrumentation allows the amps to showcase their sound-staging chops. One listen to the new version of “San Jacinto” brings you as close to the recording as you could hope for.

The recent 96 kHz remaster of Nick Drake’s three sublime albums are ravishing through the Maraschinos. Having heard these albums in every format and through countless amplifiers, I find it rather impressive that they still sound fresh, with the amps unexpectedly lifting even more detail from the recordings. If you have a collection of high-resolution music, the Maraschinos will serve you well, as they reproduce what the mastering engineers intended.

After cycling through more genres of music, I discover that the Maraschinos greatest strength is coherence. Bass notes are deep and punchy yet speedy and nimble, with high frequencies sounding extended and smooth. Certainly, system matching is going to be important here. If your speakers edge toward the speedy side of things, that may be too much of a good thing with the Maraschinos. These amps will expose lean-sounding speakers and sources. If listening preferences trend toward mellow and rosy, there will be other amps to look at. However, if clarity, brilliance, and agility are your thing, then the Maraschinos will serve you well. A balanced tube preamplifier ahead of the Maraschinos may indeed provide a perfect balance of both worlds. Neutral, open-sounding cables will also pay dividends.

Perhaps the only quirk to nitpick is that one of the amps is slightly less sensitive than the other, so it takes a few extra seconds to come out of standby. This is not a deal breaker; just a minor annoyance. The fact that the amps save watts while still being ready for optimum performance when awakened is worth the trade-off. They also run cool as a cucumber—a very nice contrast to some of the space heaters usually in for review.

The Digital Amplifier Company has wonderful success on its hands with the Cherry Maraschino monoblocks. By the way, the company’s name does not reflect its design mission: It does not make digital amplifiers. These are analog amps all the way. They are amazingly refined with low distortion. Those accustomed to bogus mid-bass warmth may think the Maraschinos are a bit vivid, but in reality they provide a clean window and they have speed to spare.

If your system needs a kick in the pants, the Maraschinos will deliver. They make our reference system come alive. It is like cleaning a dirty windshield to get a better view of the road. At $4,000 per pair, the Maraschinos are not entry-level amps. They deliver all the real-world power you need, and they’re upgradeable, efficient, great looking, and terrific sounding. These amps give listeners a good look at what the very best amps do well, for a fraction of the cost. Pair them with high-quality sources and speakers and they will deliver the sonic goods.

Cherry Maraschino Monoblocks

MSRP: $4,000 per pair

Digital Amplifier Company

www.digitalamp.com

PERIHPERALS

Wireworld has just finished work on a complete site overhaul, showcasing their products in a much more informative, graphic rich environment than ever before.

The new site has plenty of product and company info, making it easier to find out more about their products, and their creator, David Salz. Links to their social media portal and YouTube are now available to further expand the Wireworld experience

Stop by www.wireworldcable.com and explore!

While perusing the cassettes on sale for 99 cents each I almost missed this one, but my daughter let out a squeal when she saw the KISS lunchbox, not realizing this is a most excellent one from the period celebrating the four “individual” KISS records.

KISS Lunchbox:  $5, Mermaid Records

Here’s one fan’s ultimate expression for the hottest band in the land, and it succeeds brilliantly.  Contact artist Jay Werner at his studio to explore the possibilities. Maybe a Tales of Topographic Oceans van next?

The Kiss Van

www.jaywerner.com

Price: TBD

Move over Bart Simpson. The hottest plushies in the land are here, and they rule. At about eight inches tall, the likeness of the band’s four individual members are captured in grand style, from the platform boots to guitarist Ace Frehley’s gold Les Paul. And let’s not forget Gene Simmons’ trademark tongue. If you love Kiss, or great memorabilia, you need these. –Jeff Dorgay

Kiss Plushies

$10.99 each

www.funko.com

Back when I was selling Technics SL1200s and Shure V-15 cartridges by the truck load, on the brink of becoming an major obsessive audiophile, our shop received the latest and greatest from Ortofon – their MC20 moving coil cartridge and the accompanying MCA-76 head amplifier.  If memory serves me correctly, the cartridge was about 300 bucks and the MCA-76 about twice that.  Big bucks to step up from that Shure indeed.  I was driving a bright green Saab 99 that I barely had that much invested in, but I had to have it.

The Ortofon cartridge was a major step up in analog playback, and having just discovered Stereophile and The Absolute Sound, I was crazed with an expanded vocabulary that included words like “soundstage” and “transparency…”  Yes, I was hooked on analog madness in a major way.   Of course, after about two weeks of listening to these new toys, the Technics was no longer good enough and an Oracle Delphi Mk. 2 would take its place, but that’s another story for another day.

Today, the MC20 continues as the MC20 Super, reviewed here, but the MCA-76 is long discontinued, however it is readily available on the secondary market.  And a new old stock MC20 can be purchased for about $100-$200, but vary widely in quality.  The same goes for the MCA-76; these can be had for as little as $100 (what I paid for this example) up to as high as $600.  Six big ones is probably a trifle optimistic, considering that the thirty plus year old electrolytic capacitors in the power supply really need to be replaced by now and how insane you want to get will that could easily add a few hundred more to the eventual price.

Staffer Jerold O’Brien who has a penchant for vintage gear is already champing at the bit to give the MCA-76 an overhaul, add film capacitors, better RCA jacks and a healthy dose of Cardas wire to this vintage jewel, so we may revisit this on the Analogaholic section of our website.

To be as true to my memories as possible, a Technics SL-1200 was borrowed from O’Brien and I still had a pristine example of the MC20 from our review of the MC20 Super.  Once set up at the necessary 1.7gram tracking force, listening could begin in earnest.  This cartridge produces a miniscule output of .07 (mk1) to .09mv (mk2), so the MCA-76 has a correspondingly high gain to match, making it a less than optimum partner for many of todays MC cartridges in the .4 – .6mv range without overload.  There are no adjustments for gain or loading with the MCA-76; audiophiles did not have the plethora of MC cartridges that they enjoy today.

With analog, it’s always worth giving even the wackiest combination a go, even if the specs suggest otherwise and the MCA-76 was not a bad dance partner with the Dynavector Karat 17D3, (.3mv), even though it has a DC resistance of 38 ohms, where the MC20 is only 3.  Ortofon’s SPU Classic GM E cartridge spans the gap between new and old, with a DC resistance of 6 ohms and an output of only .2mv – an excellent combination.

But enough stalling, how did our visit down memory lane with the MC20 go?  Quite well, actually.  Listening to Mobile Fidelity’s version of Los Lobos’ Kiko proved enchanting.  The swinging groove of “That Train Doesn’t Stop Here,” had a wide and vivid sounstage, with the vocals large, in charge and up front, as they are with a modern cartridge.  Moving the MC20 from the Technics to a recently refurbished Thorens TD-125/SME 3009 combination made for even better low level detail retrieval and a warmer overall sound.  The rest of my listening sessions would be with this setup and the MC20 has remained on the Thorens.

Even with the old power supply capacitors, the MCA-76 renders a fairly quiet background, though not as inky black as you’d expect from something like a Lehmann Black Cube.  For now, the jury is out until we upgrade the caps.

Do you need one?  Probably not, unless you can get a major deal and just feel like taking that test drive again, but if you are a careful shopper that can probably be arranged.  The only real exception to this rule would be to pair it up with an SPU on the cheap until you find the $$ for a better MC phonostage.  These two have a synergy that can not be denied.

Either way, it’s always a great time taking a look at legendary gear that changed our perceptions of what analog is capable of, and the solid engineering behind these two pieces from Ortofon continue to this day.

– Jeff Dorgay

Peachtree Audio, manufacturer of high-performance audio products since 2007, is proud to announce that their INDIEGOGO.com campaign for the launch of deepblue2, the company’s “Ultimate Bluetooth Speaker”, has exceeded $200,000. The campaign reached its initial goal of $63,000 in just over an hour.

Launched on Monday, July 21, the campaign gave early backers the opportunity to

get deepblue2 for $249, a 50% savings from its expected $499 US retail price. Current backers are still able to get deepblue2 for $299, a 40% discount.

“We’re ecstatic about the response that deepblue2 has received,” said Andrew Clark, President of Peachtree Audio. “Our more than 600 backers include longtime Peachtree customers, as well as people from all over the world who are coming to the brand for the first time. It’s encouraging that more than 20% of our backers have chosen to receive multiple units, and we’re confident that our newly-added referral program will help introduce even more backers to our brand and products.”

Peachtree launched the original deepblue in 2013 to rave reviews from the media and customers alike. The unexpected closing of an OEM supplier forced Peachtree to discontinue the product shortly after the first production run.

Rather than give up on the concept of “Ultimate Bluetooth Speaker”, Peachtree went back to the drawing board determined to build a product that would play louder, produce deeper bass and have even better overall sound quality. The result is deepblue2, a more advanced and higher performance Bluetooth speaker in every way.
“Everybody loved the original deepblue,” said Jonathan Derda, Peachtree’s Ambassador of Awesome.  “The response to our Indiegogo campaign shows that there are a lot of people who want a simple, high-quality all-in-one speaker, and we’re confident they’ll love deepblue2.”

The INDIEGOGO.com campaign for deepblue2 went live July 21 and runs through August 22nd. Deepblue2 is expected to be available from select retailers and peachtreeaudio.com in late 2014 for $499.

https://www.indiegogo.com/projects/deepblue2-the-ultimate-bluetooth-speaker-designed-by-peachtree-audio/x/7065271

Many associate the Ortofon name with its legacy of phono cartridges, but the company’s product line includes a multiple of analog accessories, including headshells, tonearms, and high-end cables. The 6NX-TSW1010 tonearm cable, like Ortofon’s cartridges, is extremely well built.

The cable’s transparent blue casing showcases the shielding beneath, which surrounds seven conductor cores made of very pure copper. The main cable body is 5/8 inches thick and it is surprisingly flexible; the segments leading to RCA plugs are about 1/4 inch thick, and the grounding wire is much thinner. The whole cable is 1.2 meters long.

I’m surprised to see the forked grounding termination simply crimped onto its wire, given the rest of the cable’s build quality, but the connection is solid. Also, despite the gold-plated RCA covers, the plugs connecting to phonostage binding posts are not gold plated. Regardless, these design choices result in a nice-sounding cable.

While I listen to several albums on vinyl—with an SME 10 turntable and Dynavector 17D3 cartridge—a few consistent characteristics emerge. This cable offers a big sound, meaning that it supports a huge soundstage, with both width and height. Vocals sound very upfront, both as part of the perceived stage and in terms of their relation to the drivers.

Bass is deep but a touch reticent in the mix. This cable delivers a lot of detail without the sound becoming strident or sibilant. It brings the listener to the front of the auditorium. Those desiring a more laid-back and organic presentation might find this cable a bit much, but for those seeking a more upfront sonic delivery, the Ortofon could be just the ticket.  – Rob Johnson

Ortofon 6NX-TSW1010 Tonearm Cable

MSRP: €235 (about $325)

www.ortofon.com

What started as a one-off unit intended as a family birthday gift has blossomed into a full-fledged audio equipment manufacturer. Hong Kong’s Clones Audio now counts monoblocks and a DAC among its product roster, but its 25i amplifier ($865/€629) is what jump-started the boutique manufacturer. The 25i, which is a 25 watts-per-channel integrated amplifier, was inspired by a 47 Labs’ circuit design that later landed in the public domain for the DIY crowd. After all, not everyone would see the $3,000-plus asking price of the 47 Labs’ Gaincard amp without wincing—and some might double over in pain upon seeing its internal part count.

This shoebox amplifier’s genetic connection to the circuit design from 47 Labs’ founder Kimura-San makes the 25i a proper Gainclone. Little wonder then that Clones founder Funjoe went with a brand name that connotes body doubling. His integrated amp mirrors the Gaincard’s short-as-possible signal paths and broader emphasis on circuit simplicity. None of the 30 dB gain comes from the pre-stage; it is only present for input selection, of which there are three. At the business end of the 25i is an in-house-designed board that houses Texas Instruments LM3875 amplifier on a chip.

Funjoe describes his clone as using “no protection print oil to enhance clarity of sound image and musicality.” That’s funny because clarity is also the first descriptor that comes to mind when trying to encapsulate the sound of the 25i. The other word that keeps surfacing is fruity. The 25i offers solid punch, dynamics and tonal color. It’s possibly not quite as zippy as Peter Daniel’s similarly Gaincloned Patek integrated amp, but the 25i fleshes out more acoustic mass to keep the trade-off seesaw perfectly balanced.

Comparisons

First up: the REDGUM RGi60, which is made in Melbourne and is somewhat of a reference at Darko HQ Down Under. The 25i trades in some acoustic mass for upper-midrange zip and caffeination, which lends it that sports-car vibe: a speedy ride with the top down. The REDGUM is warmer, more majestic and better suited to source material like the valium-drenched sound of Lampchop’s Nixon. Conversely, Morrissey’s Your Arsenal really benefits from the Clones’ keener energy with transients that, via the REDGUM, come across as softer and more rounded.

The 25i looks down its nose at the NAD D 3020. The little Gaincloner is an altogether more refined and nuanced listen that those with more luxurious transducers are likely to appreciate. This by no means negates the NAD’s far more impressive feature-driven bang for buck, but the NAD gets found out long before we call time on the Clones.

Playing week in and week out with Wadia’s 151PowerDAC Mini calls for intervention from of one of neatest budget thumb-DACs currently doing the rounds, one that won’t physically crowd out the 25i itself and keeps the DAC-amplifier combination costs within range of Wadia’s all-in-one unit. I lassoed Resonessence Labs’ Herus to the Clones integrated with a ZuAudio breakout cable. The Wadia and Clones/Herus pairing shares similar high-relief edge definition, but the latter steps forward with the larger soundstage. Similarly, the Clones plates up more body, but (crucially) it does so without bringing with it the fuzzier definition that could be attributed to the likes of Rega’s excellent Brio-R.

Loudspeaker Matches

With the French Atohm GT1.0 ($3,440/€2,500), things can get a little too bitey up top when less-than-stellar recordings are running higher SPLs. Thankfully, the Atohm has adjustable tweeter gain on the rear for such occasions. With the top end dialed back, this co-habitation proves to be one I could happily live with long term. I’m not saying the Clones is bright per se; that B word is too blunt an instrument and one that fails to connote this shoebox’s ebullient handling of subtlety. The abundance of micro-dynamic flair might not suit everyone, especially those whose systems are already strong on lower-treble caffeination.

As such, I’d peg the Clones integrated as ideally suited to lusher loudspeakers. Harbeth’s C7ES3 immediately springs to mind. And don’t think for a moment that a $1,000 integrated has no place driving loudspeakers four times its sticker—Funjoe’s shoebox is a genuine over-achiever.

Don’t have Harbeth money? Don’t fret. Wharfedale’s limited-edition Denton loudspeaker is one that channels a vintage vibe in both looks and, to a lesser extent, sound. They definitely lean towards a warmer, thicker-aired presentation and the 25i is just the (dream) ticket; it’s a match that’ll keep your total system cost under $2K. This Gainclone is the hot blade to slice through the Denton’s butter, keeping tight control on the mid-bass so that things don’t get too rich. With the electronic-infused world music of Banco De Gaia’s Maya, bass notes are tight but abundant with texture.

I like this amplifier a lot. It’s no powerhouse and perhaps that’s the reason why I found loudspeaker matching to be more crucial than usual during my three-month audition time. However, find the right dance partner and the Clones 25i brings the goods: acoustic mass, illumination and tonal color, all in one tidy solution. Like the sound of this but need more power? Clones’ 55pm monoblocks might be the answer.

Don’t be fooled by the budget pricing, though. Know that the Clones’ integrated is a bona fide high/er-end wolf dressed in entry-level sheep’s clothing.

Additional Listening

By Jeff Dorgay

Everyone I know who’s had the good fortune to hear this little Clones 25i has really jumped up and down about it, so after the photos were taken I proceeded to really put this little jewel through its paces in the context of a $200K system. Yep, that’s no misprint. Running the dCS Vivaldi stack directly into input one and the output to the Dynaudio Evidence Platinum speakers proves interesting.

While this is clearly insane with a source and speakers of this caliber, it’s pretty obvious exactly what the amplifier in question can and can’t do.  No, it won’t be replacing my $84,000 pair of Pass Xs300 monoblocks anytime soon, but this little amp makes a very impressive showing. It drives the Dynaudios not only with ease but great control. Bass is tight and tuneful, with the high end being smooth and extended.

What you don’t get here is the level of nuance and refinement that the big-dollar stuff offers, but the overall tonality is very neutral. When I swap the dCS and Dynaudio combination for the awesome OPPO 105 disc player and my 90-dB Vandersteen 1Ci speakers, this little amp really blows my mind. The level of clarity for under a thousand bucks is nothing short of amazing, and comparing it to my other favorite benchmark in the class, the Rega Brio-R, I concur with Mr. Darko 100 percent.

Whether you are a budding audiophile or looking for a cool yet compact second system, I highly suggest the Clones 25i. It’s got the right stuff.

www.clonesaudio.com

As the starship Enterprise explodes while I’m watching Star Trek: Inception, it’s clear that these miniscule satellite speakers from Dali deliver big sound. Working in concert with the tiny Fazon Sub 1, which utilizes a 6.5-inch long-throw driver, the speakers provide an equally solid bass response, as illustrated by the cannon shots in AC/DC’s “For Those About to Rock (We Salute You).”

Finding a balance between performance and aesthetics when integrating great sound into your living room is always a challenge. Danish manufacturer Dali does a better job than most at combining a modern, understated look with exceptional performance. In the case of the Mikro 2s, the company manages to deliver such performance in a small package that easily fits anywhere.

With an enclosure built of machined aluminum—like the Fazon F5 speaker we reviewed in issue 43—the Mikro 2s feature a slightly curved shape that looks equally at home on a stand mount, on your desktop, or mounted directly to the wall. I use them in a 5.1-channel system powered by the Anthem MRX 510 multichannel receiver that has become my reference workhorse, with 125 watts per channel. Dali also makes the Fazon Mikro Vokal, which is identical to the Mikro 2 but oriented for horizontal use as a center-channel speaker. The Mikro 2s have an MSRP of $650 per pair; the Vokal is $325; and the Sub 1 is $595—which makes for a very reasonably priced multichannel setup. All the units are available in gloss white (as pictured) or gloss black.

Easily Mounted

Thanks to the integral bracket and supplied wall mount, TONE staffer Rob Johnson and I were able to mount the five Mikros in my living room with ease. To angle the rear speakers, we improvised by making wall mounts from a 4-inch long piece of PVC that we painted white, cut in half, and glued to the wall with Liquid Nails. The end result is a very subtle install.

Those wanting stands for the Mikros can purchase accessory stands from Dali, which may better suit your needs if you don’t have speaker cables running through your walls. The stands ($199 per pair) are also available in black or white.

Should you be in tighter quarters, the Mikros can also serve as a kick-ass desktop 2.1 or 5.1 system, enveloping you in sound in a way that headphones cannot. In my small (7-by-10-foot) home office, a pair of the Mikros and the sub underneath my desk delivers prodigious sound surrounding my 30-inch Apple Cinema Display.

Bottom line: These exquisitely crafted speakers work well anywhere, especially if you’re limited on space but want big sound.

Natural Sound

Dali speakers all share a natural voice, and the Mikros continue this tradition. A two-way design with a 4-inch wood-pulp woofer and 1-inch soft dome tweeter, the Mikro 2s have a somewhat low sensitivity of 84 dB, but this does not prove problematic in any situation I am able to create. The 125 watts per channel of the MRX 510 is easily able to drive these speakers to their maximum output of 104 dB, which is louder than I need in all but extreme conditions.

While Dali states that the speakers’ low-frequency response is 90 Hz, placing the Mikro 2s on the wall and fairly close to the room corners takes advantage of room gain, giving the impression of much more powerful bass response than the specs indicate. Using the same strategy with the Sub 1 and setting the crossover at about 80 Hz turns out to be perfect in my listening room. Those craving more LF output might want to consider adding a second Sub 1 in an adjacent corner, though I would resist the urge to get a lone larger subwoofer, as it may not integrate as seamlessly as the Sub 1 does.

Setting the Sub 1 up by ear takes very little time and even a rank beginner should be able to achieve excellent sub/sat integration. The ARC 1M room correction of the MRX 510 takes this to another level, and really helps the Dali speakers disappear completely in the room, both visually and sonically. The speakers are so unobtrusive that almost none of my recent guests even notice them—a major triumph in aesthetics.

Dynamic Range

Because of this natural voicing, the Mikro 2s are a perfect choice for anyone needing their home theater system to pull double duty as a family music system. Operating the receiver in simulated surround-sound mode and cranking the volume makes Cheap Trick’s version of “Day Tripper” (from Found All the Parts) sound convincingly live, with the applause folded into the mix adding to the presentation’s illusion of spaciousness.

Staying in a Beatles groove, tracking through the new copies of the Beatles’ U.S. albums, recently remastered by Greg Calbi, proves equally compelling. The Mikro 2s’ ability to disappear only heightens the ping-pong, ultra-stereo quality of these recordings.

Through these little speakers, Elvis Costello’s vocals in “I’ll Never Fall In Love Again,” (from the Austin Powers: The Spy Who Shagged Me soundtrack) is positively dreamy, capturing the mid-1960s Burt Bacharach feel perfectly, with Costello’s unique vocal styling fully intact. Tegan and Sara’s “I Know, I Know, I Know” is equally enjoyable, with both vocalists able to happily coexist in the soundstage yet with each of their voices being easily discernable.

I run the gamut of rock and jazz favorites, and nothing throws the diminutive Danes a curve they can’t navigate. The only place these speakers come up a bit short is when the program material switches to heavy electronica. You won’t be able to play your favorite Skrillex or Chemical Brothers tracks at full throttle—one can only expect a 6.5-inch woofer (from any manufacturer) to go so far. But everywhere else, when keeping sound levels prudent, the Fazon Mikro 2s always satisfy.

The available bass from the Sub 1 goes down solidly to about 35 Hz and, while this is not the ultimate in extension, it is well defined. Personally, I’d rather have detail in a small subwoofer than just boom, and this is another area where Dali excels. It’s easy to follow the bass groove in Thomas Dolby’s “Hot Sauce,” which exhibits plenty of weight. The acoustic bass line in Stanley Clarke’s In the Jazz Garden is full of overtones, perfectly capturing the speed at which this legendary player moves up and down the neck of his acoustic instrument.

Beauty, Value and Performance

The Dali Mikro 2 system offers all three of these virtues in equal measure. There will always be the audiophile who wants a traditional floorstanding or stand-mounted speaker, but for those wanting their music system to less obtrusively integrate into their surroundings, I suggest the Dali Mikro 2 system. This small system’s service to musical truth makes for a convincing home-theater experience. You will not be disappointed.

Fazon Mikro 2 speakers

$650 per pair

Fazon Mikro Vokal center-channel speaker

$325

Fazon Sub 1 subwoofer

$595

MANUFACTURER

Dali

CONTACT

www.dali-speakers.com

Since I’m not much of a headphone guy, it takes something special for me to leave the comfort of my listening room and put a pair of cans on my head. Few ‘phones have ever given me big enough goosebumps to do so, and those that did have all been planar or electrostatic. No surprise, since most of my favorite speakers are panels. There’s just something about the open, airy presentation you get from a great pair of ESL speakers. OPPO’s new PM-1 planar magnetic headphones take me to that desired place.

By nature, headphones provide the same feeling of sound pressure offered by a pair of large speakers in a room. Still, the PM-1s deliver a degree of fine sonic distinction often mustered by six-figure speakers. If you’re a music lover considering plunging into audiophilia, a pair of PM-1s are your stairway to heaven.  And while you’re at it, grab OPPO’s matching HA-1 headphone amplifier/DAC. (Full review is in the works, but it’s equally enticing.)

Recent entries from HiFi Man and Audeze redefined the paradigm for what constitutes a great headphone obtainable without spending the megabucks required for top-of-the-line Stax headphones. Now, another name can be added to that elite group— OPPO, the folks that make one of the world’s best combination disc players at an incredibly reasonable price.

Sure, building world-class headphones requires a completely different skill set than manufacturing disc players, amplifiers, and DACs. But OPPO’s design ethos binds these products together. No detail is left unaddressed, and in typical OPPO fashion, the packaging is exquisitely refined without being ostentatious. The PM-1s offer performance concurrent with the worlds best ‘phones, yet are priced at a very reasonable $1,099.

That Good

Listening to Robin Trowers’ highly phased lead guitar on his For Earth Below album instantly reveals the delicacy the PM-1s can capably deliver. They play loud and clean, and throw a prodigious stereo image, making me feel like one of those guys on the fruit roll-up commercial whose head explodes when a grape-flavored candy gets ingested.

The PM-1s are so clean, dynamic, and undistorted, you will have to be careful with the volume control so you don’t hurt yourself.  If you pair these with a premium headphone amplifier capable of a lot of juice, you’ll be tempted to crank the PM-1s beyond the point of pain. I noticed a slight buzz in my ears after playing U2’s Rattle and Hum at a rather enthusiastic level, so don’t say I didn’t warn you.

However, playing loud isn’t necessarily as easy as playing soft. Squeeze’s classic Spot the Difference is full of stylistic departures from the original versions of the band’s top tunes. When listening closely via the PM-1s, it becomes much easier to hear differences in the mix. Glenn Tilbrook’s lead vocal on “Is That Love” is more stripped down, yet also throatier, with drums, rhythm guitar, and bass better separated as the piano sneaks in and out. Experience the same track on a budget pair of ‘phones, and the intricately woven ball of sound collapses into a flat, one-dimensional sketch. Even densely packed recordings, like the self-titled Audioslave album, reveal additional nuances (guitar fills, vocal layers) through the PM-1s.

Bottom, Top, and Middle

As it is in speakers, coherence is key to planar sound in headphones. There’s a natural ease to the sound of the PM-1s that I’ve never experienced with a pair of dynamic ‘phones. Call it a lack of grain (especially with acoustic instruments) that helps the listener forget they’re wearing headphones in the first place.

The upper register revealed by the PM-1s is smooth albeit extended. The gentle mix of drumming, keyboards, and Miles Davis’ horn on his classic Bitches Brew comes together in an alluringly homogenous manner to the extent the sound feels like it’s coming directly from your brain stem, deep inside your head, with a touch of tape hiss from the master tape floating out beyond your consciousness—but there to keep you aware you are listening to an analog recording.

Davis’ double-album effort is an equally good test for bass, as many tracks feature acoustic and electric bass guitars comprising the rhythm section. Most ‘phones reduce this information to a single bass line. The PM-1s have enough resolution to pluck both instruments from the mix and appropriately present them.

A wide range of acoustic test tracks underlines the PM-1s’ ability to nail musical fundamentals. Instruments sound stunningly correct from a tonal perspective, no doubt in part to the incredibly low distortion of the driver, which uses a double-sided design and more conductors than other planar magnetic models. OPPO claims that, in addition to additional sensitivity, it offers tighter damping, contributing even further to the natural response.

Efficiency is Key

The PM-1s’ additional sensitivity and nominal 32-ohm impedance make them a breeze to drive with your mobile device. While these headphones definitely benefit from a premium headphone amplifier, your high-end audio journey can start with an iPod. Tracks saved in Apple Lossless via the iPod Mini render headphone amplifiers unnecessary on an extended business trip.

In addition to electrical efficiency, the PM-1s are considerably lighter than competing planar ‘phones (395 grams vs. about 600 for my reference Audeze), making them easier for the un-headphone guy (and perhaps you) to enjoy more extended listening sessions.

Combining high electrical efficiency with benign impedance also means the PM-1s are simple to drive with any headphone amplifier. OPPO’s HA-1 might be the obvious choice, but we experienced great results with a number of different solid-state and vacuum-tube headphone amplifiers. Moving up the ladder to the new Cypher Labs Prautes ($3,695) and ALO Studio Six with Teflon capacitors ($4,995) proved breathtaking, and removed yet another barrier to sonic reality.

Nary a Misstep

Considerable time with the OPPO PM-1s reveals no shortcomings. While the hardcore headphone enthusiast will no doubt want to add the PM-1 to their stable, more monogamous headphone lovers will find simple sonic bliss. I know I did.

The PM-1s combine everything we find of high virtue at TONEAudio: high performance, aesthetic purity, and careful attention to detail. All at a reasonable price. This is the new benchmark for premium headphones.  – Jeff Dorgay

www.oppodigital.com

During my recent trip to the Sterling Sound mastering studio in New York City, where I visited with senior mastering engineer Greg Calbi, I had the rare privileged of listening to the new Beatles’ Yesterday and Today from Calbi’s chair. An uncompressed version of “Doctor Robert” comes through the MF-100 phones via my iPod Classic rather crisply.

This $199 pair of phones does a cracking job at capturing the essence of the music. As I track through some of the tunes on the U.S. Beatles albums that were just released, the MF-100s become even more endearing. I forget that I’m sitting in terminal 2 at LaGuardia airport, as I become lost in that happy, comfy space in between my ears.

I stay locked into my own Beatlemania, with Sgt. Pepper’s next on the list, and all the trippy psychedelia contained within this classic is lovely when played through the MF-100s. There’s plenty of bass rumble in the intro of the title track, with a soundscape that floats well beyond the left and right ear boundaries. The ping-pong stereo effect reminds me of the conversation that Calbi and I just had about why we like the stereo mix of this record after all.

Initial listening in the TONEAudio studio reveals a slight sound difference between the Alcantara ear pads and the leather set (both of which are provided with the phones), such that I prefer the former. Changing the pads requires a modicum of dexterity, so I suggest picking your favorites and sticking with them. Only those with surgeon’s hands should attempt performing this task in an airport lounge, but kudos to Musical Fidelity for offering a choice, especially at this price point.

While we’re talking price, it’s well worth mentioning that the MF-100s have a build quality above and beyond what you’d expect from headphones in this range—from the ear pads and sleek frames to the internal workings and sonic reproduction. For those who care, the packaging is equally snappy. Though some might argue that the packaging is a trifle, my experience has always been that careful attention to all the details, no matter how minimal, is usually backed up by care in design and build throughout. The MF-100s are no exception. The look, feel, and sound are exquisite, especially for a $199 pair of phones.

The MF-100 is My BFF

By the time I touch back down in Portlandia, I’ve listened to six solid hours of familiar tracks via a 160-gigabyte iPod Classic, full of uncompressed titles ranging from the Rolling Stones to Justin Timberlake. With the iPod as the source, the MF-100s offer a healthy upgrade over the stock ear buds and they have a compact enough form factor that they are easy to travel with. The MF-100s look like open-back headphones, but they are not—a fact that Musical Fidelity designer Antony Michaelson confirms when we discuss his latest creation. The MF-100s continue his ongoing design philosophy of offering maximum performance while keeping costs in line. Every one of my headphone-crazed friends peg the MSRP of the MF-100s to be about $100 more than the actual price.

A few online forums have made note that the MF-100 sound slightly bright in overall tonality. These phones do have more than enough resolution to reveal the differences not only in source material but also in the nuances between sound sources. Admittedly, after six straight hours with only an iPod to drive them, I was feeling a bit of user fatigue starting to creep in, but switching to the ALO Audio PanAm DAC/amplifier (adding a few vacuum tubes to the mix) makes for a great upgrade in the overall sound quality, particularly in the high-frequency spectrum.

Keep in mind that the 64-ohm impedance of the MF-100s makes them a breeze to drive with whatever source you have at your disposal—they are more than good enough to warrant an amplifier upgrade. And it doesn’t have to have valves: The equally affordable AudioQuest DragonFly 1.2 DAC ($149) is a lovely step up that easily takes the MF-100s to another level sonically, making for a great portable hi-fi setup that won’t require your entire tax refund check.

The MF-100s benefit from about 50 hours of break-in before the drivers really stabilize sonically, eliminating the last bit of glare out of the box. Fortunately, these phones suffer less of this effect than a number of others we’ve sampled, so the delta from good sound to great sound is short.

Further Listening

Once the MF-100s are broken in and my ears recalibrate to their sound, I pull out the big guns, including the Taurus headphone amplifier from AURALiC, ALO Audio’s Studio Six, and the latest signature amplifier from Coffman Labs. The MF-100s are indeed resolving enough to discern the nuances between these top-shelf headphone amplifiers, which offer a glimpse at the ultimate performance envelope of the MF-100s. But much like putting a $5,000 phono cartridge on a $500 turntable, this is indeed overkill for the $199 MF-100s.

However, the MF-100s are ideal headphones for the music lover on a tight budget, and if great sound and build quality weren’t enough, the signal cord of the MF-100 features a button that syncs to your mobile device. For iPhone/Pod/Pad users, this allows you to access Siri—a nice touch for the jet-setter.

It’s safe to say that Musical Fidelity’s first attempt at a closed-back, over-ear headphone is a massive success—enough that we happily award it one of our Exceptional Value Awards for 2014 and purchase the review sample for our permanent headphone collection. We’ll be curious to see what comes out of the mind of Michaelson when he decides to give a $500 pair of phones a go.

– Jeff Dorgay

www.musicalfidelity.com

The Audio-Technica ATH-W1000X, which was introduced in 2011, is not a celebrity-endorsed headphone, nor does it come in a rainbow of colors. For $699, you get a headphone designed and engineered for discriminating listeners and music lovers, with ear cups made from American black cherry wood finished in an elegant violin gloss. A matching connector housing at the end of the cable completes the luxury experience, underscoring the attention to detail that has gone into these premium headphones.

For maximum comfort and ease of use, the ATH-W1000X features Audio-Technica’s self-adjusting 3-D wings-support housing, which automatically fits any wearer, with no need for adjustment. Those accustomed to traditional headphone headbands may find the feel a little strange at first, as if the headphones aren’t secure on your head. The entire headphone’s weight is distributed even across the headband, while the ear pads rest lightly, leaving some perceived space between the pads and the side of your head. But this fit actually helps give the music a more spacious and open sound than is typical for a closed-back headphone. It took me a while to get used to the fit, but now that it’s familiar, traditional headphones feel a little bit like C-clamps on my head.

With a 42-ohm impedance, the ATH-W1000X is easy to drive and works well with an A/V receiver or even an iPod/iPad—but like any premium set of phones, it responds even better to a high-quality headphone amplifier. I pair the phones with Sound Performance Labs’ new Phonitor 2 headphone amp, which employs SPL’s dual-channel 120-volt technology (a result of the company’s extensive work in the pro-audio world, where many consider the Phonitor a reference).

My main music source for this review is a MacBook Pro, with digital-to-analog processing handled by Wyred 4 Sound’s $499 μDAC-HD paired with Nordost Heimdall 2 cables. This palm-size USB-powered DAC can be hidden neatly behind the Phonitor 2 for a clutter-free workspace, a trend I’d like to see from more manufacturers.

On Girl Who Got Away by Dido, the ATH-W1000X exhibits a smooth tonal balance through the midrange, with Dido’s voice sounding relaxed, natural and uncolored. Overall presentation is bolder than the similarly priced MrSpeakers Alpha Dog phones, which I recently evaluated. Through the Technicas, mid bass blends nicely with the midrange without noticeable cross contamination. Treble is equally smooth and displays good extension. I play my music library in shuffle mode to get a variety of music through the headphones, looking for signs of sibilance—with none to be found.

The ATH-W1000X delivers a surprising amount of bass. (No, it is not the kind of heavy bass that bass-heads enjoy.) The album Settle by Disclosure does a good job giving the large 53 mm drivers a workout. There’s enough bottom-end to bring music to life. Soundstage on these headphones is respectable, though as not pinpoint accurate as the MrSpeakers Alpha Dog. Through the Phonitor 2, the ATH-W1000X exhibits better dynamics and speed than through the μDAC-HD, which reinforces that this headphone scales well with high-current power sources.

When at the TONEAudio office for photography, Jeff Dorgay (our publisher) put these phones through their paces with the ALO Audio Studio Six headphone amplifier. Jeff commented how neutral, dynamic and extended they are on the wide range of music being fed from his dCS Vivaldi stack.

Standout tracks ran the gamut from classic rock to old-school rap to electronica. “The alarm clocks in Dark Side of the Moon were larger than life,” Jeff noted. The bass response was also a big hit through the Vivaldi, shuffling through a number of discs from the famous Hôtel Costes series. Jeff was quick to point out that the ATH-1000X exhibits low audio fatigue and causes low physical fatigue for the wearer—so that 3-D mount is indeed highly effective.

Audio-Technica has done a phenomenal job building an elegant, versatile headphone that is not limited to any specific genre of music. A modest, benign load makes them easy to drive and easy to integrate into whatever your system happens to be right now. While the headphones resolve enough musical detail to warrant high-quality source and amplification components, you can start your headphone journey with just your smartphone and a pair of ATH-1000Xs. Whatever your source, these headphones will deliver a compelling presentation.  -Michael Liang

Audio-Technica ATH-W1000X

$699

www.audio-technica.com

One sure way to start a war is to mention cable on any audiophile discussion forum.  Yes, there are many who are convinced that cables are all crapola, conjured by sorcerers who want to separate you from your hard-earned money, offering nothing in return.  At the same time, others live and die by their cable, often plugging in wire products costing multiple times their components’ due in search of a certain sound.

However, like most things, a little moderation goes a long way, and a perfect example is the Mini Eclipse 7 speaker cables from Wireworld to do just that.  At $500 a pair, they will not break the bank, and to let the cat out of the bag, they will allow more music to pass on even a modest system.

Reviewer bias revealed, I’ve always had a fondness for Wireworld products and even back when I was working for The Absolute Sound, I had great results with their speaker cables.  Owner David Salz doesn’t wear a fez or a gold lamé jacket; he’s an engineer with a methodical approach to everything he does, and his goal has always been to produce cable “that doesn’t damage the sound.” The new Mini Eclipse 7 not only succeeds brilliantly, it does so at a reasonable cost.

The Minis come nicely packaged in a black textured case and are available in standard lengths, either terminated with banana plugs or silver-plated spades, in the case of our review sample.  These cables are extremely easy to use, nowhere near as stiff as my old Equinox IIIs, and not as monstrous in diameter as many of today’s premium cables, so those not wanting garden hoses on the floor should be able to work with them.

Blinding me with science

The Minis use a series of flat 14-gauge OCC copper strands in a quad conductor DNA Helix design to minimize the electromagnetic loss present in a signal cable.  Combined with Wireworld’s Composilex dielectric material is indeed a very high-performance speaker cable.  Like a number of other manufacturers, Wireworld pays close attention to the grain structure and signal directionality in their bare cable, orienting it for the best sound.

Non-believers in the crowd, take note: I have heard this effect demonstrated successfully more than once, and when at another cable manufacturer’s facility, was able to identify the difference correctly 10 out of 10 times, so this is real.  It’s not major, but it is there, and paying attention to the fine details is what makes your system sound its best.

Just to be sure, the Minis were given 100 hours of break in time, via our vintage system consisting of a Sansui 771 receiver and a pair of JBL L26 speakers.  Even at this level, fresh out of the box, the Minis were a major improvement over the standard Radio Shack wire that was in place in this very inexpensive system. Instantly, the bass response tightened up, especially in the upper mid-bass region, and the overall graininess of this old gear was substantially diminished.

Systems large and small

After logging a few hours on the Minis, they spent a fair amount of time in a modest system consisting of a Rega Brio-R integrated amplifier and a pair of Vandersteen model 1Ci speakers (reviewed last issue) with digital music streamed from a Meridian MS200.  This particular system happens to use Home Depot 12-gauge extension cords as speaker cables, to good effect for a budget system.

Again, the sonic signature – or in this case, lack of one – is immediately apparent.  The violins at the beginning of Anja Garbarek’s “Her Room” from the Smiling and Waving album have a natural tone, and the soundstage, filled with natural and artificial sound effects, is definitely more open.  Regardless of recording, the overall soundstage presented by this system is bigger, allowing the speakers to easily give the illusion of disappearing.

I moved the cable into my house system, where they work in concert with the Devialet 110 and a pair of MartinLogan Aerius i speakers, music again supplied by a Meridian Control 15.  Components with more resolution make it even easier to discern the difference the cables make.  The driving, funky bass line in Betty Davis’s “If I’m in Luck I Might Get Picked Up” now has more punch than before, and the Minis replace a set of more expensive speaker cables. I notice the same thing with Glenn Hughes’s rapid-fire bass playing on the self-titled Black Country Communion album.  Some cable, especially at this price point, tends to slow down the sound and introduce pace and timing issues – this is never the case with the Wireworld cable.

The vintage MartinLogan speakers are still very transparent (thanks to new panels from ML a few years ago) and easily reveal grain, yet the Minis help the system to reveal only the music, neither adding nor subtracting from the presentation.  Going back to an old audiophile classic, Michael Hedges’s Aerial Boundaries is chock full of plucky, acoustic guitar playing that can be easily muddled, yet never is through the Minis.  I notice the difference these cables make even more when I switch back to what I was using before.

Convinces the cable skeptic

These days $500 for a pair of premium speaker cables is a reasonable, but not major, investment; however the Wireworld Mini Eclipse 7 speaker cables proved a valid upgrade, even in a system only worth about $1,000.

As with any system, to reap the maximum benefit from any cable, make sure to optimize speaker placement and component setup before investing in anyone’s wire, so that you can more easily hear the difference.  And no, a $500 pair of speaker cables won’t make your $600 integrated amp sound like a pair of Pass Labs Class A monoblocks – that’s not being fair.

However, if you would like to take your current system to the next level, I highly suggest auditioning a pair of these at your local Wireworld dealer.   You’ll be impressed.  I’m impressed enough to buy the review pair for my Devialet system and to give these one of our Exceptional Value Awards for 2014.

www.wireworldcable.com

Features

Old School:
Acoustat 1+1 speakers

By Jerold O’Brien

Journeyman Audiophile

Stirling Broadcast SB-88 Speakers

By Jeff Dorgay and Mark Marcantonio

Personal Fidelity:

AURALiC Gemini 2000

By Jerold O’Brien

995:

MartinLogan Crescendo

By Jeff Dorgay

TONE Style

Wino:
Summer is the Reason for Rose!
By Monique Meadows

Sub Pop Record Store

Bosch EV Charger

Orange is the New Red:

We sample the new Jaguar F-TYPE Coupe with
Meridian sound

Music

Current Releases:

Fresh Releases in the Pop/Rock World
By the TONE Staff

Audiophile Pressings

Jazz & Blues
By Jim Macnie & Aaron Cohen

LIVE:  Bob Mould in Chicago
By Bob Gendron

Snapshot: Gregg Allman
By Jerome Brunet

Previews

Conrad Johnson LP125sa Amplifier

VPI Nomad Turntable

Balanced Audio Technology VK-3000SE Integrated

From the Web

Boulder 865 Integrated

Plinisu Koru Phonostage

Reviews

Dynaudio Evidence Platinum Speakers
By Jeff Dorgay

Morel Octave 6 Limited Speakers
By Rob Johnson

Golden Ear Triton Seven Speakers
By Mark Marcantonio

Penaudio Cenya Monitors
By Jeff Dorgay

Burmester B10 Speakers
By Jeff Dorgay

Following Steve Martin’s vocal musings on “Late For School,” it becomes immediately apparent how well this integrated amplifier, Boulder’s entry-level piece, keeps track of pace and timing.

Martin’s voice meanders around the soundstage thrown between my KEF Blades, with banjos, bass and percussion all firmly anchored in place, with a hint of animal sounds for good measure.  Though this is the most affordable piece in the Boulder lineup, “entry level” doesn’t do it any more justice than calling a Cayman an “entry level” Porsche.

The 865 is truly a product only a company like Boulder can build, taking advantage of their design, build and production facilities – one of the very few North American companies that performs every speck of construction in house.  Their completely vertical process allows them the luxury to use much higher quality everything than you might expect in a $13,000 integrated, right down to one of their cool, machined remote controls.  Every detail is attended to perfection as it is in their $200,000 3050 monoblocks.  Should your audio journey take you no further than the 865, this is an amplifier you’ll be proud to hand down to one of your family members.  It lacks nothing in terms of sound or build quality in comparison to the Boulder flagship products.

The XRCD version of Jackie McLean’s Swing, Swang, Swingin’ proves equally illuminating.  Like every other Boulder product I’ve experienced, the 865 follows the family tradition by neither adding nor subtracting to the sound.  While this may bring slightly less to the presentation on poor quality recordings, that can benefit from a bit of warmth, what it does for stellar recordings is well worth the tradeoff.  Just like the 3050 monoblocks that we reviewed last year, the 865 is a wonderful conduit for music, never throwing the focus on itself; it’s always in the service of the music.

Even my worst recordings come to life when the 865 is part of the system.  Records lacking in tonal and dynamic range (like KISS Alive! or Then And Now…The Best of the Monkees) reveal layers of detail that never comes to life on a lesser amplifier, not to mention the tremendous dynamic slam on tap – the same experience I had with the 3050s.

Utilizing the same stepped volume control from the 800 series preamplifier, originally developed for the 2010 preamplifier, the 865 maintains perfect (within .5db) channel balance throughout the range, and all of the buttons and controls retaining the same feel you’ve come to expect in the top of their range. Even though the case work has been streamlined a bit, the feel is still there in spades.

All Boulder

If you’re wondering what you don’t get for the $13k pricetag, and why this amplifier is so compact compared to the larger Boulder models – the answer is simple.  Boulder founder Jeff Nelson likes to talk about watts being relative and that the bigger amplifiers, with their bigger power supplies are more about control than what their wattage ratings suggest.

Where the larger Boulder amplifiers are full class-A designs, the 865 is biased in class A mode for the first 17 watts per channel, then it gently transitions into class AB mode to its full power rating of 150 watts per channel.  But make no mistake, the 865 gives up precious little in ultimate fidelity and control.  Boulder has done a brilliant job of incorporating the maximum amount their essence into this compact, by comparison product.  The 865 is the heart of the 810 preamplifier and 860 power amplifier (which is half of the 1000 series amplifier) squeezed into a single chassis weighing just under 50 pounds.

The drum solo in Little Feat’s Day or Night, is rendered superbly, with plenty of attack, decay and texture.  If there is anything that I could characterize as the Boulder sound (or lack of it) is the way their amplifiers have an effortless transient response, and present a more realistic rendition of drums and percussion than any other amplifier I’ve experienced – and the 865 is no slouch.

As with every Boulder amplifier, the 865 uses a fully balanced topography, so those with single ended ancilliary components will need to use adaptors to interface.  Though Boulder feels that balanced is the ultimate way to experience their components, we did have excellent luck with the single ended components at our disposal, mainly the Zesto and CJ phono preamplifiers in for review.  The 865 does not feature an integrated phonostage, so vinyl lovers will either have to choose one of theirs, and I highly suggest the awesome 1008 phonostage, or go to a third party.

Top notch throughout

While most listening was done via an analog front end consisting of the ARC REF Phono 2SE phonostage (balanced), AVID Acutus Reference SP turntable, SME V tonearm and Clearaudio Goldfinger v.2 cartridge, along with the dCS Vivaldi performing digital duties, the 865 was never the weak link in the chain, holding its own in the context of a six figure reference system.

Switching between the KEF Blades, the Dynaudio Evidence Platinum speakers and the GamuT S9, the 865 did its job-playing music effortlessly.  Moving it to room two with the Dynaudio Confidence C1s and the Sonus faber Guareri Evolution speakers, both extremely high performance, yet small speakers made an incredible case for stopping the audio journey right here and just enjoying the music.  The 865 reveals so much that if you don’t need to blow the windows out of your listening room and you just want to revel in quality – this is your amplifier.

Good as my digital front end is, the difference between great analog and great digital made itself known immediately as I queued up a 45 rpm copy of Peter Gabriel’s self titled album (known to others as the Security album) and played “Lay Your Hands On Me” at maximum volume.  At the beginning of the track, where the synthesizer comes in, sounding like something out of David Lynch’s Eraserhead, it holds steady inside the soundstage about four feet high, locked in as the rest of the track unfolds again – and then the explosive drumming is right there behind Gabriel’s voice.  Simply stunning.

In the end, fantastic

So if you’ve always lusted for Boulder amplification and thought it was out of reach, consider the 865 as either the Boulder for you, or your stepping stone into the Boulder range.  Either way you can’t lose.

The 865 took precious little time to truly warm up or burn in.  Approximately 48 hours after it was first turned on, it settled into its spacious, accurate sound; probably more a result of thermal stabilization than any kind of component “burn in.”  Because it’s not fully class-A throughout, you can leave it on all the time without feeling guilty.

With four balanced XLR inputs and a pair of balanced XLR outputs, the 865 will merge into any system with ease, allowing bi amplification or a powered subwoofer.  And the beefy speaker binding posts are not only user friendly, and accommodating of any audiophile cable you might choose to use with this amplifier.

It’s also worth mentioning that the 865 is one of the few amplifiers we’ve auditioned that didn’t really benefit from any kind of line conditioning, a further testament to it’s robust design.

While 13 thousand dollars is no pittance to spend on an amplifier, Boulder’s 865 represents the pinnacle of what a high quality component should offer, first rate sound and build.  For this reason, we are happy to give it one of our Exceptional Value Awards.  Well done.

www.boulderamp.com

Peripherals

Analog Source            Avid Acutus Ref SP/Tri Planar/Lyra Atlas

Phonostage                ARC REF 5SE

Digital Source                        dCS Vivaldi Stack

Speakers                    KEF Blade, Dynaudio Evidence Platinum, GamuT S9

Cable                          Cardas Clear

Indimusic.TV, the first “Social Media Broadcast Network” and the leading indie music 24/7 broadcast network worldwide, announced today that it is bringing back the Emmy Award-winning music and interview series “Private Sessions,” the best interview/performance music series of the last decade. Indimusic.TV will re-launch the series with Adam Levine and Maroon 5 this Fall.

“Private Sessions,” produced by A+E Networks and hosted by international radio and television host Lynn Hoffman, features exclusive performances and intimate conversations with top names in contemporary music and film from Rock, Pop, Country, and R&B. “Private Sessions” dedicates each one-hour show to the body of work of a single artist or group and features performances of not only their current releases, but also the songs that built and defined their careers.

“We are thrilled to bring this Emmy Award winning series and Lynn Hoffman to our network,” said Chris Pati, Chairman/Founder of IndiMusic TV. “Private Sessions’ was the best interview/performance series of the last decade and it is an honor and a privilege to reintroduce the series to a whole new audience and demographic.”

“I am beyond ecstatic to be able to help bring Private Sessions back to TV with the groundbreaking digital broadcasting/social media outlet known as IndiMusic TV.,” said Lynn Hoffman, host of the award-winning “Private Sessions” show. “I firmly believe that what Chris has created is not only the future model of overall television viewing and social media interaction globally, but more importantly, a place for quality music programming and a fantastic groundbreaking platform and media outlet for 99% of all artists and bands on a global scale ”

This joint venture between IndiMusic TV, Inc, A+E Networks and Lynn Hoffman Entertainment LLC, will no doubt blaze a trail for future content deals between traditional and Internet broadcast models.

Leonard Cohen’s The Future first hit my audio radar as a result of the Natural Born Killers soundtrack. “Waiting for the Miracle” first captured my attention, but it didn’t take long for the rest of the songs to develop a tight grip on my senses. Cohen’s deep and commanding vocals, accentuating his contemplative and sometimes haunting lyrics, draw forth an unexpected range of emotion.

Previously, my sole exposure to this album came via 16-bit /44.1k CD-quality sound. Stumbling across Music On Vinyl’s analog reissue was a happy accident. The LP meets my high expectations in two important ways. It has more presence, and sounds as if I stepped a few rows forward in the auditorium. The second notable improvement pertains to the vocals. The digital glare on the CD pleasantly disappears. The range and texture of Cohen’s voice is beautifully rendered, and front and center in the mix. It’s also appropriately “sized” in the stereo image.

Disappointments exist, however. Like those on the CD, instruments still can sound repressed. While drums, piano, and guitar offer a reasonable level of realism on “Always,” the same instruments lack detail and presence on other fare. On the title track, for instance, cymbal strikes offer little impact, ring, and decay. The tambourine’s sparkle outshines them. Strings are also hit-and-miss. On the instrumental “Tacoma Trailer,” both piano and strings illustrate a step-up in sonics when compared the CD. However, it’s still not transparent enough to be mistaken for live sound.

Perhaps the source material has inherent limitations, and there’s little else to dig out of it. Or perhaps vocal quality remained the absolute top priority for the reissue, even if it meant some tradeoffs were necessary. Truth be told, the captivating vocals initially sold me on the album, so the latter scenario is an acceptable compromise. While the overall experience leaves me wanting more, having The Future available on a good vinyl pressing makes up for the deficiencies. –Rob Johnson

Columbia/Music On Vinyl, 180g LP

One of the things I’ve always admired about Gene Simmons is that he’s straightforward about being in the game for the money. Our pal Chad Kassem at Quality Record Pressings/Acoustic Sounds isn’t always quite so forthright, and I’ll cut him some slack because he wouldn’t know a great rock record if it bit him in the ass. But this is pure blasphemy. Sorry folks, I’ve been there from the beginning, and I have every pressing of Alive! around, and this one is a turd.  A $50 turd. no less, pressed at Kassem’s QRP plant.

Granted, Alive! has never been a sonic masterpiece, but the Japanese CD collection from a few years back does this classic major justice, revealing what little dynamics do exist. There’s also some halfway decent separation between lead guitarist Ace Frehley and rhythm guitar Paul Stanley’s playing, with a bit of soundstaging, to boot.

Pulling out the original Casablanca pressing to do a direct comparison, even the original, which you can usually find (albeit often well-worn) for a few bucks at used record stores, blows this remaster away in every sense of the word.

So to the very small subset of audiophiles that happen to love Kiss: If you want the best, you won’t get it here.  –Jeff Dorgay

Universal, 180g 2LP

Among guilty pleasure albums from the 1980s, Aztec Camera’s debut High Land, Hard Rain maintains a surprisingly regular appearance on my turntable. Over the years, my copy of the 1983 LP from Sire Records sustained a fair amount of needle time and admittedly, isn’t the pristine pressing it used to be. When listening, I took the lyrical advice of Aztec Camera’s song “We Could Send Letters” by closing my eyes and waiting until things got better. Finally, patience persevered! Domino Recordings obtained the original analog masters to create a 30^th anniversary reissue on 180-gram vinyl.

Compared with the original LP, the album art appears identical, except for the not-so-surprising omission of the tagline “also available on cassette.” The new pressing replicates the track listing of the original LP. For those seeking bonus songs, be sure to check out the digital download enabled via the vinyl purchase or pick up the CD.

Most importantly, the sonics get a significant upgrade. Domino made a concerted effort to give the album the respect and long-overdue update it deserves. Roddy Frame’s vocals boast inherent passion, and the reverb is more apparent. The perceived room around the vocalist also seems larger. Acoustic guitars, the driving force of the album, retain their energetic and upfront placement, and are flanked by deep, tight, and supportive bass. No, cymbals and tambourines don’t have all the subtle ring and decay I hoped to hear, but are on par with earlier releases. Perhaps the original recordings didn’t allow much more detail to be retrieved without the introduction of unwanted artifacts.

For High Land, Hard Rain fans, this reissue is a must. If you are not yet a fan of Aztec Camera, the pressing provides a great opportunity to start.   –Rob Johnson

Domino, 180g LP

Spending four days with the Aston Martin DBS a few years ago was an enthralling experience to say the least—and beyond definition to say the most—but a brief time in the company of something outside of your means can often skew your perspective. When I return the silver beauty, a good friend who actually owns an Aston told me, “Yeah, she’s a beauty, but wait until the first oil change: $800. And let’s not even talk about the first major service…” Two years later, said friend ended up buying the Boxster S that I told him to buy in the first place—but that’s another story for another day.

Just like an Aston, Bentley or Ferrari, most mega-bucks hi-fi products have a way of seducing you that standard-issue gear does not. Unfortunately, the review process does not always make it feasible for a manufacturer to leave a six-figure component in someone’s hands for longer than a reasonable honeymoon, and this is why at times these reviews seem overly enthusiastic: The reviewer never gets a chance to move past the honeymoon phase.

So let’s talk about a $110,000 digital player—that’s not a typo. I thought I had lost my mind when I purchased the dCS Paganini four-box system a few years ago (and I felt equally crazy when buying the Naim CD555 a few years before that); yet, after even a few months it was very obvious that the Paganini performed well beyond anything I’d ever experienced. And it just got better the longer I listened to it with an even wider range of music. So how much better could a player costing almost twice as much as the Paganini be? As it turns out, quite a bit better.

A Brief Tech Brief

In the past year, much has been written about the Vivaldi’s technical prowess via Stereophile, The Absolute Sound and others, so if you’re looking for a more geeky perspective (and even if you aren’t), I suggest reading Michael Fremer’s and Robert Harley’s takes on this player. Should you be investing at this level, read everything you can and do some serious listening—one doesn’t want buyer’s remorse on a purchase like this.

Instead of focusing on the technical aspects, we’re going to concentrate more on the Vivaldi experience. What’s it like to truly live with a player like this for a whole year? Is it still exciting? Is it a fling or a long-term love affair?

To make an incredibly long story shorter for those not familiar with dCS, the British manufacturer takes a modular four-box approach to its top digital players, (separating the most critical parts of the playback chain as they see it: a CD/SACD Transport, DAC, system Master Clock, and what they see as the system hub, the Upsampler) with separate sections for the transport (which plays CDs and SACDs), DAC, master clock, and upsampler. This allows the user the ability to build a dCS stack one box at a time, starting with the DAC alone if you so desire, or to eliminate the transport entirely for those not using discs.

Where so many DACs rely on off-the-shelf hardware, the Vivaldi, like all other dCS products, utilize the company’s own “Ring DAC” technology, which is based around field-programmable gate array chips and the proprietary, discrete digital-to-analog converter circuit that runs dCS decoding software and gives the DAC its name. What does that really mean? On one level, it means that when dCS learns something new in the lab, your player can be reprogrammed with the latest software with ease, like having the software in your car’s ECU upgraded for more horsepower. Having gone through a couple of software upgrades with the Paganini, I can tell you that it is an exciting process. Each time, I felt as if I had purchased an entirely new component, with the updates providing a significant performance upgrade at no additional cost. I merely had to insert a disc, upload the data, and voila, I received a much better player than I had before.

Not only does the Vivaldi offer this same functionality, but because the gate array on the new digital main board only uses about 30 percent of its total processing power, there is plenty of room for whatever future upgrades the brainiacs at dCS come up with in the years to come. This future-proof approach goes a long way in terms of consumer confidence when writing a six-figure check.

The Vivaldi is capable of playing all file formats from 16 bit/44 kHz to full DSD, with the option of playing all files natively or upsampling to any higher data rate, as well as upsampling to DSD or DXD. Check the dCS website for all the fine details. Suffice it to say that the Vivaldi will play virtually any music format you throw at it with no issue, and as new formats become commercially relevant, upgrades are a snap.

Inputs, Outputs and Cables

As a four-(unit/box) system, the Vivaldi plays everything but Blu-ray Discs and DVD-A (however my MSB transport connected to the stack allows playback of these formats, giving me a fully functioning digital Death Star). The Vivaldi does play every known digital audio format, including DSD.  John Quick, of dCS North America, brought me a hard drive loaded with DSD files; however, comparing these files to the SACDs in the Vivaldi transport, the optical disc always comes out on top in terms of clarity and a natural presentation. For this reviewer, DSD files continues to be a major non-issue, but the Vivaldi is fully equipped to handle the format.

With a full bevy of every input you can think of, the Vivaldi accepts digital signals from every source imaginable, including iPods, iPhones, and iPads (because the Vivaldi is Apple approved). Even the 320-kbps feed from Spotify sounds amazing—never better, in fact—when played through the dCS stack, especially when upsampled to DSD.

The key to maximum performance is proper setup and connection, and making sure that all three boxes (transport, upsampler and DAC) are all properly set to talk to the master clock. If this is done incorrectly, the clock does not lock all four pieces of the stack together and playback suffers dramatically. On the subject of upsampling, many will argue that imaging and timbre suffer from this approach, but I will tell you that the dCS nails this without any sign of artifacts.

A total of 13 cables are required to connect the Vivaldi stack together, not counting four AC power cables. Like changing the spark-plug wires on a 12-cylinder car, do it one at a time, should you decide to upgrade the complete set of included stock cables (see sidebar). Better yet, have your dCS dealer, who will probably sell you the cables anyway, make a house call.

Are You Experienced?

The Vivaldi is not a plug-and-play device. After getting through the somewhat daunting process of connecting all the boxes together, and getting them all synchronized with the master clock, there are still choices. As all filtering is done via software, you have about six different digital filters to choose from. Like the Paganini, after months of driving myself crazy, I settled on the default settings. Those with ADD/OCD issues will go slightly mad here, because there are so many possible combinations—which leads us to the question of upsampling.

While I rarely hear much difference when upsampling high-resolution files to DSD, 16/44 files (especially MP3 files) benefit tremendously from upsampling, having more air and life overall. There are no instances where I prefer going straight 16/44 all the way through to output.

Should you be using a source like a Meridian digital-music server, which does not offer a word clock input, the proper adjustments will have to be made on the Vivaldi so that the system is not running unlocked, causing effects similar to tape dropout. When using my Meridian server, I go into its menu and disable internal upsampling (which normally yields a 24/88 output) and force it to output CDs at native resolution and let the Vivaldi do the rest.

Serving It Up

Instead of using an external server for delivering digital files, the way to really roll with the Vivaldi is using a NAS drive and the dCS application. You can also access files directly via an external USB drive (or thumb drive) plugged directly into the Vivaldi’s USB port. This provides the clearest, cleanest signal path and a major step up in reproduction quality over any of the servers I have on hand, which makes perfect sense. For my initial review of the Vivaldi, dCS had not fully sorted out the app, but now it is working rather nicely, and in addition to cataloging your music collection, it works as a giant remote control for the DAC and Upsampler, with the ability to control the entire stack in the works in an upcoming software upgrade.

As a music server, the dCS app gets a 7 for convenience (sorry, there still isn’t a server out there that can beat the Meridian for ease of use and speed), but an 11 for sound quality, so take your pick. Personally, I like the simplicity of having it all on one remote, but it is nice to know that if you purchase a Vivaldi, you won’t have to buy or configure an additional streamer—just plug an Ethernet cable into the Upsampler, find your NAS with the App, and roll.

All Digital? Forget the Preamp

While dCS’s digital volume control is excellent in the Paganini, it still sounded more lifelike going from the line-level outputs, with volume control set to its maximum level, to a great linestage. The Vivaldi closes this gap such that, if you are an all-digital music listener, you really don’t need a separate linestage, thanks to the increased low-level linearity of its volume control and the transparency of its output stage.

We put the Vivaldi through its paces with a wide variety of power amplifiers, from the $2,000 VanAlstine Ultravalve all the way up to the $88,000-per-pair Pass Xs 300 monoblocks, which are my current reference. Comparing playback with and without a linestage—including the ARC REF 5SE, Burmester 011 and Robert Koda K-10—we found that, while the Vivaldi doesn’t reveal more music without a linestage in the path, using one does not diminish the presentation either. So if you’re taking the “less-is-more” approach, I’d forget the linestage if you are going all digital. The Vivaldi can be set via its menu to deliver 2-volt or 6-volt output through balanced XLRs or standard RCAs and it will easily drive two systems.

In a Word: Natural

Granted, the price of digital perfection is not cheap, but the dCS Vivaldi achieves it. The Paganini was fantastic, but switching to analog playback via the AVID Acutus Reference SP (with either the Clearaudio Goldfinger or Lyra Atlas cartridges) still stole the day. This always left me thinking, “That’s damn good for digital,” but the Vivaldi offers playback on a completely different level. I don’t love analog any less than I used to, but 12 hour days listening to the Vivaldi instead of a turntable is never a problem. And after myriad comparisons of analog to digital files with various resolutions, not only can I easily live with the Vivaldi, half of the time the Vivaldi reveals more music than analog does in my system.

Listening to some high-resolution files of Neil Young’s Harvest, supplied by Quick, illustrates this succinctly, when compared to the recent Chris Bellman remaster (which is excellent). Young’s acoustic guitar intro is bigger and bolder and has more tonal richness. As the drums and piano enter the track, they have a more distinct space via high-resolution digital, and the sparse bass line and banjo are locked down into their own separate spaces in a way the LP just can’t match. Yet, on Peter Gabriel’s “Lay Your Hands on Me,” via digital and the 45-rpm Classic Records box set, the vinyl takes the lead for all the same reasons, though the full digital recording is still quieter.

Time after time, it’s easy to fool analog-loyal friends by spinning the LP and playing the Vivaldi at the same time, claiming to be playing vinyl. They would all chime in proclaiming analog’s superiority. But when the truth was revealed, they were shocked that they were in fact listening to digital—oh, the horror.

For those with world-class analog front-ends, the digital part of your music collection no longer has to take a back seat to your analog collection. And that’s the highest compliment I can pay the Vivaldi. If you don’t have analog, you don’t need it with this player. I am keeping it as my new reference digital component—and now that I’m 55 years old, it may be my last.

Minor Nits

After a full year, the only complaint I have with the Vivaldi (and the Paganini suffered the same problem) is its human interface. While the new display screens on the Vivaldi are much easier to read, the writing above all of the buttons on the silver-faced units like mine are nearly impossible to read by anyone over 30. If I had to do this again, I would opt for the black version with the white type, only to be able to read the buttons better.

Fortunately, once you get used to the Vivaldi and get it configured the way you want it, you shouldn’t be doing much more in terms of fiddling. And controlling the stack via an iPad and the app does make it much easier.

Line in the Sand

Bottom line: If the office ever burns down, I’ll buy another Vivaldi and forget about rebuilding my record collection. It’s that good. After an entire year of 12- to 16-hour listening sessions daily, I’m still pinching myself over the level of performance this player achieves—and now even more so with the built-in app and server capability.

The dCS Vivaldi becomes more engaging the longer you listen to it and the more of your music collection you can experience with it. It is one of the precious few systems at any price that completely disappears and lets you fully enjoy the music.

Much like an Aston Martin DBS or Ferrari 458, the dCS Vivaldi delivers a level of elegance and performance that is unmatched by lesser players. But unlike with the four-wheeled toys, you can build a Vivaldi system one box at a time. And should you not require a disc spinner, the $68K price of a three-box Vivaldi is almost a steal for the performance it delivers, especially if you are an all-digital listener and can ditch your $10K-to-$40K linestage as part of the upgrade.

If you can afford a dCS Vivaldi, take it for a test drive; you won’t regret it. The most exciting part of adding this player to my reference system is that it remains enthralling after a year of intense listening and it definitely reveals substantially more music than the excellent dCS Paganini that it replaced. This is definitely a long-term love affair, not a fling.

The Vivaldi digital playback system

MSRP:

Transport: $39,999

Upsampler: $19,999

Master Clock: $13,499

DAC: $34,999

www.dcsltd.co.uk

PERIPHERALS

The generally accepted wisdom is that tube amps display a warm sound while solid-state amps offer more punch and control. But those lines are blurring, with great designs in both camps that defy past assumptions—and this is where Conrad-Johnson comes to mind. Compared to the company’s legendary valve-based gear, its MF2550 power amp takes a different approach—namely the fact that it’s solid state. The amp is available as a standard or special-edition (SE) version, the latter of which is priced at $7,800 and includes CJD Teflon hybrid capacitors and precision foil resistors. We did not have the opportunity to test these two versions side by side, but considering the outstanding performance of the SE version, it’s likely that the standard version is no slouch.

The MF2550 is rather nondescript and traditional in its appearance. The black metal chassis, which measures 16.25 inches deep, 19 inches wide, and 6.125 inches tall, features a faceplate made of thick aluminum with gold anodizing and a brushed-matte finish. Among my other black and silver audio components, the amp’s gold color—a signature of CJ—certainly stands out. The only feature interrupting the smooth faceplate is a power button the size of a quarter on the lower right corner. A gentle yellow LED halo illuminates the button when pressed. The only thing distinguishing the special-edition amp from the standard version is a small plate on the back of the unit that notes the serial number and the SE designation.

Connecting the amp could not be easier, with a set of RCA inputs and the requisite speaker binding posts; it takes only two minutes and a little finger strength to get the amp up and running. I appreciate the amp’s five-way metal binding posts, which effortlessly handle a post wrench. The posts easily accommodate two-banana adapters and offer plenty of space to connect spades and even bare-ended wire.

Pushing the gold-colored button to reveal the sonic prowess within, I first wonder if the amp is on, since it is silent. Even the ribbon tweeters in my Piega P-10 speakers do no hiss at the visiting power source.

Hidden Treasure

Much of the amp’s 52-pound weight comes from the hefty power supply fueling 250 watts into 8 ohms, or 500 watts into 4 ohms. On paper, the MF2550’s power output is a dead-ringer for my Mark Levinson reference amp, so it’s exciting to swap in the CJ. There are indeed many similarities between the two amps, as well as a few key differences.

Three-dimensional presentation is a dramatic strength of this amp. Music appears independent of the speakers and audible in all directions. Left-to-right imaging extends the music well beyond the speaker boundaries, with a very convincing central image. The amp also pinpoints other musical elements across the soundstage. Front-to-back layering leaves the vocalist up front, while allowing ambient background sounds to extend beyond the rear wall of my listening space. There’s no perceived vertical limitation either, as the music extends from floor to ceiling. On Lyle Lovett’s song “Church,” from his Joshua Judges Ruth album, the background vocalists are rendered well behind Lovett, who appears front and center. While my reference amp is quite good in its ability to layer musical elements, the CJ exceeds it.

The MF2550 takes command of my speakers with deep, rich and robust bass. Compared with my reference amp, the MF2550’s bass response is not quite as tight and punchy. Rage Against the Machine remains one of my guilty pleasures. The band’s song “Bombtrack” provides a good reference point for bass. Through the CJ, the bass portrayal is not loose or lacking depth, though there’s just a touch less immediacy and excitement compared to my Levinson.

Throughout my listening experience, there’s a very slightly warm tendency to this solid-state amp, which I wasn’t expecting. To be clear, the CJ does not overly romanticize the sound; it’s just a bit more forgiving than I’m used to. There’s a slight gentleness when listening to recordings that usually prove overly revealing. I’m able to turn the volume up higher for an immersive music experience without any hard-edged notes piercing my eardrums. At first, I wonder if some higher frequencies are rolled off, but after testing several frequency sweep tracks, all the highs are there. The CJ’s design just manages to somehow take most sting and vocal sibilance out.

Some live instruments can have an inherent bite. During live performances, it’s never pleasant to be in the blast zone of a trumpet, saxophone, snare drum, or cymbal crash. Nevertheless, that experience is the reality of the music. Through the CJ’s portrayal of music in my own system, while subtle, there’s just a touch less detail and realism. For instance, the sonic decay of the cymbal on the Dave Brubeck Quartet’s “Blue Rondo à la Turk” subsides more quickly than I’m used to. At the same time, the Civil Wars’ “Dust to Dust” on vinyl proves an utterly opulent experience. Minute sonic details aside, it’s easy to find oneself immersed in the emotion and beauty of the song.

I would not call this amp euphonic, but it leans to the side of forgiving musicality, as opposed to pure realism. Is this a bad thing? No. On a sunny day, many folks prefer to tame the glare with sunglasses, right? Similarly, if your system is a bit bright for your taste, or if you just prefer a portrayal that’s a tad relaxed, the MF2550 may provide the balance you’ve been looking for.

The Golden Ticket?

I thoroughly enjoyed the month I spent with the MF2550 SE in my system, as did several of my friends who regularly come over to listen. The MF2550 SE is something I could enjoy happily for a long time. On vocally driven performances, jazz and orchestral pieces, the CJ leaves little to desire. For those who prefer rock music with all its inherent aggression and vigor, the CJ stands more toward the polite end of the spectrum. In all cases, though, the musicality of the performance shines though.

With plenty of power and a non-fatiguing presence, this amp will likely pair well with many speakers and components. It certainly plays nicely with all my test equipment. Given its $7,800 retail price, the amp represents a long-term investment for many audio fans, but many rewards come with it.

Combining great sound with substantial build quality and a three-year warranty on parts and labor, the MF2550 SE could be something that you find at the end of your quest for sonic treasure. If these benefits sound compelling to you, definitely make a run to your local Conrad-Johnson dealer and hear for yourself what this amp can do.  

Additional Listening

By Jeff Dorgay

While so many audio enthusiasts think of Conrad-Johnson as a strictly vacuum-tube company, the brand has made some very impressive solid-state amplifiers over the years. The benchmark that comes to my mind is its Premier 350, which served as my reference amplifier for years. So when Lew Johnson told me about the MF2550 SE, this was the immediate comparison floating around in my head. But Johnson was quick to point out that the MF2550 SE is a “completely different amplifier” that would really surprise me.

And surprise it does. Thanks to a bevy of CJD Teflon capacitors, the ones that have been highly influential in the sound of CJ for the last 10 years or so, the MF2550 SE has a thoroughly modern sound. Bringing back my Premier 350, along with CJ’s ACT2 Series 2 preamplifier, makes it easy to compare and contrast the two amps.

Overall, the MF2550 SE has a very dynamic, extended sound. Those of you who remember the company’s early solid-state amplifiers and who did not experience the Premier 350 will be stunned at just how spectacular this new amplifier sounds, especially considering how well CJ is known for vacuum-tube amplifiers. The overall tonality is highly natural, with barely a hint of warmness. It’s not quite as neutral as, say, the top-of-the-line Simaudio Moon amplifiers that we’ve listened to or the Premier 350, but it’s not as warm as my Burmester 911 MK3 or the Pass XA series amplifiers.

Running the MF2550 SE through its paces with a wide range of speakers, including the Focal Maestro Utopia, Dynaudio Evidence Platinum, and even my old Acoustat 2+2s, reveals that this amplifier will drive any speakers comfortably, with power to spare. Whether rocking out with AC/DC, or relaxing with a string quartet, this amplifier presents a wide, deep soundstage and a level of nuance and control usually associated with a much more expensive amplifier.

As with the Premier 350, Conrad-Johnson’s MF2550 SE’s simple, elegant, and understated design delivers breathtaking musical performance in a compact package. And, as someone who has owned quite a few CJ products over the last 35 years, I will say that the Champagne-colored faceplate is just fine by me.

MF2550 SE amplifier

MSRP: $7,800

www.conradjohnson.com

PERIPHERALS

MartinLogan, the world’s leader in electrostatic & Folded Motion™ loudspeaker technology, proudly announces the addition of three new powerful speaker models in their award-winning Motion^® Series; Motion 60XT floorstanding, Motion 50XT center channel, and Motion 35XT bookshelf speaker.

XT stands for extreme, and for good reason. The new Motion XT speakers play louder, lower, and with unflinching accuracy. Larger woofers and cabinets, paired with our most accurate Folded Motion™ XT driver, deliver an engaging and encompassing experience that cuts straight to the emotion locked inside your favorite recordings.

Motion XT speakers feature a ferocious combination of high-performance components; high-excursion, black aluminum cone woofers with low-turbulence, rear-firing, bass ports provide extended, powerful bass; larger more accurate Folded Motion XT tweeters boasts a radiating surface 40% larger than other Motion Series speakers for ultra-low distortion; and a dedicated mid-woofer on the Motion 60XT promotes an even more open, revealing and authentic sound in the critical midrange. The result is acoustic alchemy across the frequency spectrum, creating an unbelievably realistic musical experience.

Complementing their sonic accuracy is an elegant yet understated styling. Luscious high-gloss finishes, subtle angled-top cabinets with soft radius corners and signature MartinLogan perforated grilles accentuates their powerful elegance.

MartinLogan’s dedicated in-house engineering team carefully crafted the Motion Series to provide speakers with stunning dynamic range and jaw-dropping clarity, along with thoughtful simplicity. Additional refinements include custom 5-way bi-wire tool-less binding posts that allow ultimate connection flexibility, and reinforced solid internal bracing that eliminates internal resonances and standing waves.

The complete Motion Series comprises of four floorstanding speakers (Motion 20, 40 & 60XT), two bookshelf speakers (Motion 15 & 35XT) and two center channels (Motion 30 and 50XT). Each speaker is voice-matched, ensuring mix-and-match versatility to create the ideal system for any size room.

Motion 60XT, 50XT & 35XT pricing starts at $2,999.95 per pair (US), $899.95 each (US), and $1,199.95 per pair(US), respectively, in High-Gloss Piano Black finish. High-Gloss Black Cherrywood finish is also available, and all models will ship at the end of July 2014.

For more information on MartinLogan’s new Motion XT speakers, please visit their website at: www.martinlogan.com/motionSeries

Always losing USB cables, in-ear phones and those new small chargers that come with the iPod and iPhone?  The Skooba Design Cable Stable Rollup Kit barely takes up any space in your purse, briefcase or suitcase and holds four such items.  Perfect for your next trip, photoshoot, or off world endeavour.

$16.95

www.skoobadesign.com

Wireworld Cable Technology, one of the world’s most respected manufacturers of high performance audio and video cables, is releasing their Series 7 reference USB Audio cables, Platinum Starlight® 7 USB and Silver Starlight® 7 USB. The addition of Composilex® 2 insulation makes them dramatically quieter and their upgraded DNA Helix® design increases their transmission speed to a class-leading 10.2Gbps+. These advantages minimize jitter, which maximizes the musical realism of high resolution PCM and DSD music files. “Critics and customers seem to agree that the Series 7 upgrades are our best ever,” comments Wireworld President and founder David Salz. “The pristine tonality and expressive musicality of Platinum and Silver Starlight 7 USB cables is a wonder to behold. Our previous series was widely considered the best available, and Series 7 outperforms it in every way.” Both cables employ Wireworld’s patented DNA Helix design with six signal conductors — twice as many as other USB cables — arranged in a newly expanded symmetrical geometry that channels more electromagnetic energy to exceed 10.2Gbps transmission speed, dramatically faster than other cables and the official USB high speed specification. The Composilex 2 insulation reduces triboelectric noise in the signal conductors and it also triples the noise-absorption of the isolated power conductor to produce surprisingly lifelike tone color and imaging. Featuring molded carbon fiber connectors and six solid silver conductors (3 x 23AWG) for uncompromised performance, Platinum Starlight 7 USB has a suggested price of $700 for one meter. Silver Starlight 7 USB features the same DNA Helix design with six silver-clad OFC conductors and aluminum connectors at $300 for a one meter cable. Both cables are available in lengths from .3 to 5 meters in A to B and A to mini B configurations. Wireworld Cable Technology, which was founded by industrial designer David Salz in 1992, is the premier provider of leading edge digital and analog cable technology for home audio and video, from HDMI and USB audio to state of the art high-end interconnects and speaker cables. Wireworld earned its world-class reputation by producing superior cables based on the use of objective perceptual testing, innovative patented designs, premium materials, and exceptional manufacturing quality.  For more information, visit: http://www.wireworldcable.com/ or call 954-464-4474.

First the good news: the Maxboost significantly outperforms its published spec of doubling the battery life of an iPhone 5, it almost triples it.  And the integral hard case barely adds any weight or girth to the iPhone’s sleekness.  But now the bad news:  reception is cut by about 30% in weak signal areas, netting you additional hours of dropped calls.  Nice.

However, if you live in fairly strong signal areas, and take advantage of LTE, use the GPS dependent apps a lot or just have a motor mouth, this device will make your life better.

$99.95

www.amazon.com

The saying goes, “you can’t have everything, because where would you put it?”  The compact Sennheiser HH10 Headphone Holders go a long way at alleviating that problem.  Clamping on to a wall or shelf just about anywhere, you can safely hang your favorite phones anywhere.

$25

www.sennheiser.com

Who wouldn’t want one of these?  Whether attacking your kids, co-workers or spouse, this is the perfect way to take out your anger in a way that nobody gets hurt.  Just keep this thing away from your turntable, as it will take a Lyra Atlas out faster than you can say pointed stick.  Remember, we warned you.

$25

www.amazon.com

We’ve been using Canon’s compact G-series digital cameras in succession since the G9, each one making incremental gains in performance over the last, both in terms of image capture and image processing.  The big jump came with the G1 X, which featured a much larger image sensor (APS-C; 22.3 x 14.9mm), giving that camera an edge in low-light situations, capturing images that rival many DSLRs.

The EOS M builds on this success, combining the high quality of the G1 X sensor, with the ability to change lenses.  Currently there are only two lenses available in the EOS M stable: a 22mm f2 lens (about 35mm equivalent with full frame sensor) and an 18-55mm f3.5-5.6 zoom.  Though MSRP on this combination is $599,  it can be had for about $340 online, making this an incredible bargain.

18 megapixel power

Pixels aren’t everything, but in the case of the EOS M, a sensor with larger pixels than the rest of the pack makes for high ISO/low noise images, allowing much cleaner photos in low light situations than the comparably priced point-and-shoot cameras at your disposal.  Thanks to great face recognition software and the sensor from the G1 X, shooting at ISO 1600 and up is now a breeze, making this the perfect camera to sneak into your favorite concert, where “professional” cameras are not allowed.

Average to high light level results are even better – pictures taken with the EOS M compare favorably, almost identically, to identical images captured with the Canon EOS 7D DSLR.  Those using the EOS system can mount their full complement of EOS lenses with a convenient adaptor ($199) and retain full auto focus and image stabilization, making the EOS M an ideal backup body. Mounting a 70-200mm f2.8D lens yields crisp results with no lack of functionality.

Highlights and shadows are clean and noise-free at all but the highest ISO rating. As for composition, the EOS M’s three-inch viewing screen is easy to compose with, even in fairly bright light.  As with every other compact camera, this is perhaps the only area where the EOS M falls down in comparison to a DSLR, as looking through the actual viewfinder in bright light is still the easiest way to focus a camera.

Those needing more viewing area can plug in an external HD monitor via the HDMI port, as you would with one of the higher-end EOS DSLR bodies.  Best of all, the EOS M allows you focusing and composition in real time, making this camera incredibly easy to use in a studio situation, especially with manual focus engaged.

Smashing ergonomics

Legacy G-series users will instantly feel at home, yet will notice the stripped-down feel of this camera in comparison.  Rather than having most of the buttons on the outside of the camera, nearly everything is menu driven on the EOS M, making for a sleeker camera.

Fully automatic mode delivers great pictures, yet the EOS M allows full manual control of everything for the advanced photographer who desires it.  Full HD video (1080 x 1920 pixels) is only a button click away and again, the results closely resemble that of an EOS 7D. Images are captured via SD cards, and if you plan on capturing a lot of HD video, purchase the fastest data transfer card you can find.

Taking advantage of Servo AF mode, the EOS M can capture photos at a rate of just under two frames per second, so it may not be the best camera for covering a Formula One race – but it should be more than adequate for the next birthday party or soccer match.  And remember, some of the world’s best photographers shot without motorized assist, so up your game accordingly…

Almost…

So whether you’d like a compact camera that will work in tandem with your DSLR, or a high-performance camera that can take advantage of a wide range of lenses, the Canon EOS M is worthy of the moniker. – Jeff Dorgay

Canon’s EOS M

$599 (with 18-55mm lens)

www.canonusa.com

The new F-TYPE is a seductive, capable addition to the Jaguar fleet. It delivers the raw, sensuous beauty of the E-Type from the 1960s and ’70s—considered by many, even the great Enzo Ferrari, to be one of the most beautifully shaped cars ever conceived—with 21st century performance and accouterments. Best of all, the F-TYPE sheds Jaguar’s 20th century reliability issues; the British manufacturer is a top performer in JD Power’s initial quality surveys.

With the F-TYPE, Jaguar has indeed produced a brilliant success. I have spent a lot of personal time with Jag’s retired S-Type—in both its 380 hp supercharged V-6 and 495 hp supercharged V-8 variants—and I found it to provide a highly enjoyable ride. For the automotive journalists assembled for the debut of the F-TYPE, the comparison between the new model and the S-Type polarized the group in terms of which car provides the ultimate setup. Both models weigh around 3,500 pounds, so these are big cats indeed, but they are so lithe that they hide their weight incredibly well.

Now it’s My Turn

Jaguar’s current ad campaign in the U.S. features the tagline, “Now it’s your turn,” with a fellow returning from a test drive and flipping the keys to the first person in a long line of people waiting to drive the car. Fortunately, Jaguar has plenty of cars available at this event—in both the 380 hp V-6 and 495 hp V-8 trim, and in a plethora of colors—so we don’t have to wait long. With a few of the cars on display in Firesand metallic (aka bright, shiny orange), I am assured that orange is indeed the new red. A surprisingly gorgeous variation on the classic British Racing Green, the trademark shade of the E-Typeis also available.

The new car is available in three trim levels: The base model, priced at $69,000, features a 340 hp supercharged V-6; the 380 hp V-6 Sport model, priced at $81,000; and the 495 hp V-8 Sport model, priced at $92,000. While this review should concentrate on the F-TYPE’s sophisticated Meridian sound system, the car’s active sport exhaust system, which essentially bypasses the mufflers briefly when you mash the throttle to the floor, uncovers a cacophony of enticing sound that is worth noting.

As the only audio writer in a crowd of automotive journalists, I am interested to hear their take on the car. Almost all of them favor the V-8 version, some claiming that 380 hp is just not enough—an interesting take, considering that many of these same journalists went bonkers over the 400 hp Porsche turbo about 15 years ago. It would seem that we remain corrupted by power, even in the day of $4.00-per-gallon gasoline in the U.S. and double that in Europe.

Not a 911

Throughout the course of the presentations, representatives from Jaguar repeatedly make comparisons between the F-TYPE and the Porsche 911. As a Porsche owner, I submit the F-TYPE is a wholly different car, more than deserving evaluation (and adoration) on a different level. The current 911 has become heavier and more posh over the years, especially in its latest iteration, with many core Porsche enthusiasts feeling it has become much more of a GT car in the process.

Where the 911 is a sports car with luxury aspirations, the F-Type is a luxury roadster that is highly sporty, if that makes any sense. Many of my acquaintances who own 911s lament the same thing—the car is rarely a big hit with wives or significant female friends. The F-Type, by contrast, strikes a perfect balance of personal luxury and coddling that the 911 can’t muster, yet the Jag’s claws come out in earnest the second you mash the gas pedal to the floor, proving that the car is indeed a sporty performer. Doing so clearly illustrates that the optional free-flowing exhaust on the test vehicle keeps the car very civil in tight traffic yet free to roar on the open highway.

And roar it does, the V-8 sounding more like a NASCAR engine at full song, encouraging inappropriate behavior and a major decrease in fuel consumption. As I pass a scowling Prius driver at full throttle, I casually glance at the “instantaneous mpg” figure on the Jag’s dashboard—it reads 5.3 mpg. But what an incredible way to dispose of fossil fuel.

In light of the conversations of those loving New York and hating Los Angeles, I love both coasts equally for different reasons. Similarly, if I had the cash, I’d have a 911 and an F-TYPE in my garage.

Just Posh Enough

The F-TYPE strikes a wonderful balance of cutting-edge design and fashion-forward styling, while achieving an exterior look that I suspect will be as timeless as that of the E-Type. I doubt this will be a car that long-term owners will ever tire of looking at. The only question mark is will all the hardware and software under the bonnet be supported 40 years from now? While the E-Type had a reputation for being somewhat unreliable, it can still be repaired today.

Automotive design aside, the star performer here is the optional 770-watt Meridian audio system. The 380-watt standard system is by no means rubbish, but it can’t be played as loud as the optional system. In real life, this means you can only blast Megadeth up to about 35 mph before road noise takes over, but with the bigger 13-speaker Meridian system, you can still rock the casbah at about 60 mph.

This is exactly what I did, using the title track of Megadeth’s Countdown to Extinction as my first test. Derived from Meridian’s system in the Range Rover Evoque (reviewed in issue 45), this audio system is optimized and custom-tuned specifically for the F-TYPE.

Meridian’s DSP (digital signal processing) experience works wonders here. The sound is dynamic, engaging and enveloping, even with the car’s top down and the throttle at a moderate position. But when you mash the throttle, forget about it. Top-down motoring and high-fidelity listening are two great tastes that don’t always taste great together. No offense to my friends at Meridian, but the F-TYPE is just too damn fun to drive fast with the top down to care about the audio system.

Jaguar has done a marvelous job with noise control on the soft top, so top-up motoring is highly enjoyable, making the F-TYPE almost as quiet as a fixed-roof car. This is when you can truly enjoy the marvel of the Meridian system. The cabin is quiet enough to listen to classical music in a meaningful way. When tracking through Brahms’ Symphony No. 1 in C Minor, I find myself easily swept into the grandeur of the piece, able to enjoy the quiet bits almost as much as I do in my home system, with precious little road noise creeping in. The soundstage is big, bold and very dynamic, reproducing the loudest kettledrums with authority and then seamlessly transitioning back to the moderate oboe passages. Rifling through a set of Blue Note XRCDs and a fair share of solo female and male vocalists proves equally compelling, with an excellent degree of stereo imaging throughout the front cabin—which, in the Jag, feels more like a large mobile set of headphones, while the system in the Range Rover Evoque provides a more cavernous experience.

Bottom line, the $1,200 for the upgrade to the top Meridian system is a pittance in terms of the total sticker price. And if you love music, I guarantee you will enjoy this car so much more with the Meridian system installed that you will quickly forget about the extra dough. It is wonderful to see Meridian doing its part to make a highly enjoyable sports car that much more enjoyable with a sound system worthy of the Jaguar marque. – Jeff Dorgay

www.jaguarusa.com

www.meridian-audio.com

If you’ve got one of the latest Samsung Galaxy phones, you have to get the companion watch. While some may view this as over the top nerdiness, and others the first step to wearing Borg implants, the Samsung engineers have done a remarkable job at streamlining what could have been a major dork move.

Yes you need another iPad.  Now dubbed the iPad Air, Apple claims their new baby is “leaner and definitely meaner.”  Marketing hyperbole aside, it is 28% lighter, weighing in at a mere one pound.  While some find this new svelteness enticing, the beauty of the new iPad is truly skin deep.

Those stepping up from an earlier generation pad will immediately notice the crispness of the retina display.  Even if you’ve already had the retina experience, you’ll be excited by the processor upgrade, providing a big jump in overall performance.  Web pages load decidedly faster when comparing to the last model, and wifi performance seems improved as well, when transferring files.  Perhaps the biggest benefactors will be the gamers in the audience, which is where all of this functionality converges, but the new Pad is enough of a star performer, that those relying more heavily on the pad than a laptop should give this one serious consideration.  – Jeff Dorgay

$499-$999 (depending on configuration)

www.apple.com

The ubiquitous milk crate serves many vinyl fans at some point during their lives. Any why not? It is inexpensive, sturdy, and offers an eerily ideal size to accommodate a record collection. It’s hard to imagine that anyone could taint such a perfect audio storage solution with actual milk bottles!

For those who want all the functionality of their much-loved milk crates, but who want a huge step-up in aesthetics, Steidle Woodworking Company in Vancouver, British Columbia, offers an exceptional solution. The company’s owner, James Steidle, hand builds each crate from reclaimed wood or trembling aspen with a birch bottom panel. While sizes and designs vary, the standard crate protects 70 to 80 LP-sized records in style. Different versions are made to embrace 7-inch records. With the natural grain and color variance inherent in wood, each crate has its own unique and beautiful appearance.

In order to accommodate a bulky, heavy load of vinyl, Steidle fortifies each creation with attractive and sturdy dovetail joints which bind sides and bases together with exceptional durability. This approach also eliminates the need for metal hardware which could otherwise detract from the organic aesthetics. Simple, ergonomically cut handles grace the sides, making these crates portable even when hauling a full capacity of records.  -Rob Johnson

James Steidle sells his handcrafted creations through Etsy.com. Designs start at $79. http://steidlewoodworking.com/

And just when y’all thought Austin, Texas was a place for music, it turns out they are getting equally famous for making vodka.  Proprietor Tito Beveridge (yeah, that’s his real name) left a career in the financial services industry to follow his passion for vodka, and we’re probably all better off for it.

Labeled a “sippin vodka,” Tito’s is smoother than anything we’ve come across, tasting almost like Vodka flavored wine.  Equally good mixed with your favorite combination; orange juice, cranberry juice or even Gatorade, Tito’s Handmade Vodka should be on your list if you’re a vodka aficionado.  – Jeff Dorgay

About $30

www.titosvodka.com

As much fun as it was zooming around in the Jaguar F-Type—which appeared on the cover of our last issue and which is also equipped with a magnificent audio system from Meridian—the visceral experience of driving with the top and gas pedal down made it difficult to concentrate on anything but the sound of the engine. For this writer, the roar of a big V-8 always trumps whatever tunes are playing.

But the new Range Rover Sport is an entirely different animal. With a cockpit nearly as quiet as that of a Bentley, the Sport makes for the perfect spot to take advantage of what the Meridian system can deliver. It’s a $1,950 option that you should not be without.

Joining some of motoring’s most noteworthy journalists, we sit through a presentation that an outsider might think is comprised of a bunch of unlikely tourists being pitched on the idea of vacation time-shares. It’s awfully quiet in the room as Range Rover’s best and brightest share all the techie bits about what makes this new Sport model even more Range Rover-y. They also make a point to tell us that the Sport is backordered for months—which seems to impress the highly enthusiastic audience.

The design brief concentrates on the Sport’s ability to deliver more off-road capability than Range Rover loyalists might be used to, as well as more boulevard-friendly cruising abilities for those pursuing more civil driving (i.e. Kim Kardashian and the country-club crowd). The new Sport is nearly 800 pounds lighter than the model it replaces, which becomes immediately apparent at the gas pump. Friends with the departing model tell me that they struggle to get 12 mpg; the new model will deliver close to 20 mpg in mixed driving environments—a major improvement.

But this enhanced performance is not just due to weight loss; it also comes from higher efficiency in all areas, from the engine management to the new and improved transmission, combined with better software controlling the drivetrain.

Just Get the V-8

While I truly preferred the supercharged V-6 power plant in the Jaguar F-Type—feeling that it was more lithe overall and hardly worth the gas-mileage penalty for the 0.5-second quicker 0-to-60-mph time of the V-8 version—the exact opposite is true with the Range Rover Sport. The 1-to-2-mpg penalty you’ll pay for the big motor is a small price to pay for the posh feel that accompanies it. The 6-cylinder car feels fine at cruising speed, but when it’s necessary to overtake the car next to you, the weaker engine’s struggle is apparent in the cabin, feeling somewhat labored, whereas the V-8 version jumps ahead effortlessly.

And while the extra horsepower of the V-8 only shaves about 0.5 seconds from the 0-to-60 time in the Jag, it delivers a nearly 2-second quicker time in the Range Rover. Again, it’s more about the way the power is delivered than the power itself. You never think about the engine in the V-8 model, as it should be in a luxury ride like this.

Both the V-6 and V-8 engines are based on the ones used in the Jaguar, yet in the Range Rover they are tuned more for maximum torque and a broader response curve, which benefits a wider range of driving experiences. You aren’t going to be burning rubber when the tires are knee-deep in mud anyway—what you want is smooth, torque-heavy power delivery so you can leap out of the slimy spots with ease. Yet, where the V-6 feels fine most of the time, when you put the pedal down, you still feel the engine. By comparison, the V-8 has an effortlessness of power delivery that just seems oh so much more in keeping with the sporty ethos.

That’s what the Range Rover Sport delivers: No matter how steep a hill we chose to climb or how slippery the conditions, this damn thing does not get stuck—ever. As a neophyte to off-roading (though I’ve ridden my share of dirt bikes through hellish conditions), I’m flabbergasted at the capabilities of this 5000-pound vehicle, which can sprint from 0 to 60 mph in 5 seconds flat—something that the Porsche Boxster in my garage cannot accomplish.

If there was ever a vehicle that can do damn near everything, the Range Rover Sport is it. Now, if we could only have the 35-mpg turbo diesel model that our European neighbors enjoy…

The Ultimate Mobile Concert Hall

Thanks to 1,700 watts and 29 speakers, all tailored to the Range Rover’s interior environment, there is no better way to take the music to the street, or wherever. Most of our test vehicles have the standard Meridian system, which is no slouch, and adds $1,995 to the sticker. For all but the most die-hard music fans, this should suffice, but if you want to rock while you’re rolling, you need the top-of-the-line Meridian Signature Audio Enhancement Package, which adds $4,995 to the MSRP—a small price to pay to be a major player.

And rock it does. Thanks to all of the DSP modeling performed by Meridian, an expert in this technology, each one of those 29 speakers is custom tuned to the Sport’s luxurious cabin. Cranking up the new Nine Inch Nails album Hesitation Marks conveys the sheer industrial energy present on this disc, and even at near maximum volume, nothing in the Sport’s cabin rattles or makes any kind of mechanical noise.

Next up, it’s classic Scorpions—Love at First Sting. It might be a little bit out of character for this proper British vehicle to be blasting “Rock You Like a Hurricane,” but again the Meridian system delivers the goods, providing maximum SPL and minimum distortion. Seriously, this system can generate major sound pressure, so we’ll leave it up to you to establish your own definitions of reasonable and prudent while behind the wheel.

Because this is a surround-sound setup, those with 5.1-channel DVD-Audio discs can take full advantage of that functionality. The 1990s classic Toy Matinee is a ton of fun on this system, with vocals seeming to come up from between the front seats and with sprinkles of synthesizer fills coming from all over the cabin—brilliant!

You Know You Want It

I come away spoiled from my time spent with the Range Rover Sport equipped with the Meridian sound system—any other SUV now disappoints. I’ve driven them all and they pale in comparison. Nothing else has the versatility, the reputation or the panache. Granted, the Range Rover Sport may not be for everyone, but if I were writing a check for seventy large, this would be in my driveway in a heartbeat.  – Jeff Dorgay

www.rangerover.com

www.meridian-audio.com

Cars aren’t the only things being produced in Detroit these days. Earlier this year, Shinola began offering a variety of items including bicycles, leather goods and watches, all produced at its Detroit manufacturing facility. And its watches in particular caught our attention.

Named after the 1940s-era shoe polish brand, Shinola is backed by a larger Dallas-based company and has an ultimate production goal of 500,000 watches annually. Shinola has partnered with Detroit’s College for Creative Studies, which is helping to interject creative approaches in the company’s manufacturing process. And while not all the parts in Shinola’s watches are sourced from U.S. suppliers, the company hopes to bring more U.S.-based companies into the fold. As one example, a well-established watchband maker in Florida, Hadley-Roma, produces all the leather bands for Shinola’s watches.

It is not uncommon for U.S. manufacturers to buy parts from sources around the world and assemble them here. Many companies even have the entire assembly process done overseas where expertise and labor costs can make small-scale production more economical. Shinola’s manufacturing approach bucks this trend in order to create jobs locally. And Shinola’s watches have generated a strong following from those who favor the watches’ neo-retro designs.

Shinola takes special care in building its movements, which is kind of like a watch’s engine, allowing the watch to maintain time and date, and in some cases enabling stopwatch functionality. All the movements in Shinola’s current lineup are quartz-based and required the battery to be changed every few years. Companies like ETA (Swiss) and Miyota (Japanese) produce very reliable pre-built movements and are the go-to options for some U.S. watchmakers. Another large movement manufacturer is Ronda (also Swiss), and its movements serve as the basis of Shinola’s own Argonite series of movements, which Shinola assembles at its Detroit factory. Keep in mind that each Argonite movement requires 40 to 80 tiny parts.

To prepare the team in Detriot for such a large and delicate undertaking, Shinola brought in several experts from Ronda to get the process rolling and to help train the local team. A substantial amount of hands-on labor is required to build each movement—and considering the care and time that the team in Detroit puts into each Shinola watch, a price tag starting at around $500 is very reasonable. Given the quick growth and popularity of the company, it appears that many happy Shinola customers agree.  -Rob Johnson

www.shinola.com

For Portland, Oregon, residents like me, rain is a not just a common experience, it’s a way of life.  The word “rain” actually proves too generic and inadequate here because experiences with liquid precipitation vary so much. We’ve become accustomed to a creative system of rainfall classification based on the volume of water that clouds decide to unleash. In order of increasing wetness, descriptors include mist, drizzle, light rain, scattered showers, showers, rain, steady rain, heavy rain and, well, deluge. Portlanders generally don’t even notice the first two categories when they occur; more wet conditions, however, demand acknowledgement and some shield strategy when heading outdoors.

These weather conditions fuel my ongoing quest for the perfect umbrella, which must meet three requirements: a very compact folded size that fits into a computer bag, a deployed size that provides adequate water protection, and a durable design that allows use in fairly windy conditions. All this led to my experimental purchase of a Senz “Smart S” umbrella. “S” stands for “small” versus the larger sizes Senz sells.

Made for one person, the most eye-catching feature of this umbrella is its unconventional canopy design. While the Senz, compared to my other travel umbrella, has roughly the same square footage of rain protection the canopy shape is quite different. Unlike the traditional round umbrella shape the Senz sports a squared-off, teardrop-like shape with a roundish front, a wider shoulder section, and an elongated tail. In addition to water protection, Netherlands-based Senz describes the oblong shape as superior for use in windy conditions.

Closed, the Smart S is about 9.5” (24cm) long and it deploys manually. Once open, dimensions are roughly 34” x 34” (85 x 85 cm). For a foldable, the build feels quite durable with metal parts for added strength.

It didn’t take long for perfect wet and windy weather to hit Portland late this fall, so the Senz and I teamed up and embarked on a few errands. I’m accustomed to a round umbrella, so at first I was skeptical about the Smart umbrella’s shape and its theoretical benefits over a more conventional design.

The handle, positioned more toward the front of the teardrop, gives the umbrella an unusual and off-balance profile. During a brisk walk in the rain, however, the genius of the shape becomes clear.  The rounded front keeps the front of your legs and shoes dry. The wider shoulder section offers good shielding for the bulk of the body. The “tail” on the Senz directs runoff further behind me than a round umbrella does. Ultimately, this means the back of my pant legs stay drier.  In addition, the narrower overall shape accommodates pedestrian sidewalk traffic better than my round umbrella does.

The Senz also handles wind with aplomb just as advertised. Even in gusts, the umbrella never flipped or inverted.  Smart S is designed to withstand a 35 mph (60 km/hr) wind. I have not tested that yet, but in moderately windy conditions it does better than other umbrellas I’ve owned.

Because the Smart S is so compact, it works best when aimed in the direction of travel. I find that wind-driven rain, perpendicular to my walking direction, causes more of a challenge. For maximum dryness, I need to twist the Senz a bit so the leading edge angles toward the wind and rain, or else accept a damp side of my body. I’m sure a larger Senz model would reduce this problem. Repositioning the Smart S umbrella reduces rain exposure for me, but the elongated back creates a greater eyeball hazard for passers-by on busy sidewalks. However, most others were so intrigued by my unusual Senz silhouette that their eyes found the umbrella before it found them. If you are worried about visibility, the S comes in red as well as black and white.

The Senz Smart S is not cheap at around $40, and if you are prone to losing umbrellas, it could prove an expensive habit.  For all the use I’ll get from it, though, I feel the Senz offers price performance. This well-engineered umbrella is my go-to for city use. The unique canopy shape proves effective in more cases than does a round design. For those on-foot folks who want to be prepared for wet weather conditions, the compact size and durability of the Senz Smart S make it a great option.  –Rob Johnson

Senz “Smart S” Umbrella

See it on Amazon.com

MSRP: 24.95 Euros (about $35 USD) direct