TONEAudio MAGAZINE The Concierge of High End Audio

Have you ever attended a top level car show and marveled at the level of craftsmanship that goes into restoring a vintage sports car?  The best ones always look like the car just rolled off the production line, as if time had stopped for the moment you were gazing at it.  If your object of desire happens to be the SME 3009 tonearm, look no further than smetonearms.com – they create, or more accurately recreate vintage SME tonearms at a concours level.

It didn’t hurt that my tonearm belonged to a good friends father and was actually a “one owner” model, so I had a decent arm to begin with.  And as any car restoration expert will tell you, the cosmetic bits are the toughest to replace, so if you can start out with a clean donor, it makes the job that much easier.  This particular arm looked fantastic and even had the original receipt in the box, when it was purchased new in the early 70’s with a Thorens turntable.

Proprietor Alfred Kayser is an affable guy and he knows vintage SME inside and out.  He assured me that the tonearm would be completely rebuilt from the ground up and completely rewired all the way back to the RCA plugs.  The final result is truly beautiful to behold, but Alfred also told me that one of their arms would stand up to the best that today’s market has to offer.  After a day of listening, I can’t argue with him, but the real differences will be revealed when we mount the 3009 to one of our two AVID Volvere SP turntables and compare it directly to another AVID Volvere SP with an identical Dynavector DV-20xl cartridge and a current SME 309 tonearm.  But for now, it certainly sounds fab on my AVID Diva II SP.

With 3009 arms selling as cheap as $150 these days (with a typical model about $300-$450), the $400-$600 that SME Tonearms charges is a bargain, perhaps one of the best bargains in high end audio I’ve seen.

Much changed in the 18 months since we reviewed the QSonix Q105 music server. It was a highly capable device, but as is typical with most first-generation music servers, R&D wasn’t spent on the audio section of the product. In this respect, QSonix was no more guilty than any other manufacturer.

But things move fast in computer audio. And just like its main competitor, Sooloos (which became part of Meridian about 18 months ago), QSonix found an equally capable partner in Wadia, a longtime pioneer in the world of high-performance digital audio. Wadia has since contributed a purpose-built digital output board that not only offers 24/192 output, but does so via USB, SPDIF, Toslink and Balanced EBU connections, allowing the new Q205 to claim far better sound than the original as well as sound on par with Wadia’s best CD players. Thanks to these enhancements, the Q205’s audio performance is commensurate with its interface.

(QSonix remains committed to legacy users. Those owning Q105 systems can upgrade their software to the current version, which allows iPad access. Anyone desiring the digital output board is afforded a liberal trade-in towards a Q205. Since everything is nearly completely new inside the Q205, simple upgrades are not possible.)

Like the Sooloos, the QSonix has always showcased a highly intuitive interface—the key to an excellent music server. Much like comparing Apple’s iPad to the Android tablet, both devices do things their own way. But they both offer the most information and make use of a touch screen that’s laden with album art, meaning you can access your music the way you remember it—by the cover.

The Q205 sells for $7,450 to $8,250, depending on whether you purchase the 1TB or 2TB version. Or you can buy it without the touch screen for about $1,200 less and control the server via an iPad. It stores 2700 CDs in lossless format (FLAC or WMA), or 1500 uncompressed WAV files per terabyte. Countless arguments abound on the virtue of lossless vs. WAV, but everyone save those with canine hearing will be hard-pressed to hear the difference between FLAC and WAV.

Presently, the Q205 handles a maximum of 2TB, which means 5400 CDs will be the limit, assuming all your files are in 16/44 format. High-resolution audio files are two-to-four times the size of CD-quality files, so take that into account if you prefer hi-res music. However, Weaver hinted that as soon as QSonix can finish certification of a few enterprise-level 3TB hard drives, the latter will be an option for those with bigger-than-average music collections.  He claims QSonix “insists on the enterprise drives because they have much greater durability than the standard drive you buy at a computer store.”

Test Environment

We put the Q205 through its paces with a handful of great DACs: the dCS Debussy, Naim DAC, and the Wadia 381i that we have been using for some time. The QSonix performed equally well with all of them. Sound quality wasn’t diminished with either the spdif, abs/ebu, or USB outputs. However, the optical (Toslink) sported somewhat lower fidelity.

Because the Wadia 381i forms such a synergistic match with the Audio Research REF 150, sans preamplifier, I did the bulk of listening with this configuration. For those that don’t require an analog input, this combo makes for an excellent system, as Wadia’s patented Digital Volume Control eliminates the need for a preamplifier. A pair of B&W 802 Diamond speakers, with Cardas Clear interconnects and speaker cable, rounded out the system. An AudioQuest Diamond 110-ohm digital cable linked the Q205 and the 381i.

Functionality

Setting up the Q205 is painless, and only requires two cables between the touch-screen monitor and server, a cable between the Q205 and your DAC of choice, and power. Both the monitor and Q205 use wall-wart power supplies— 12-volt for the Q205 and 9-volt for the monitor. After the individual pieces are connected, the Q205 needs to be connected to your Ethernet network via a standard RJ-45 cable.

A simple, menu-driven group of set-up screens will have you importing your CDs in minutes. This is when you choose the quality level for ripped files: uncompressed WAV, lossless WMA, or MP3. While the Q205 will rip files as WAV, it will not allow you to import WAV files that you previously ripped elsewhere. The current version of the software supports virtually all popular audio file formats:  MP3, WMA, Lossless, FLAC, WAV, AIFF, M4A and Apple Lossless, including 24 bit versions. Files can be easily imported via the Ethernet network or directly through one of the USB ports using an external hard drive or thumb drive.  The system also features advanced media recognition capabilities that will automatically retrieve album art and metadata including composer information, album reviews and playlist suggestions.

Once setup is complete and music imported, it is not necessary to keep the Q205 tethered to your Ethernet network. Even if disconnected, the Q205 can still import CDs without metadata, and upon reconnection, you can update your library at a later date. Should you be inclined for a mix disc, or one of your original CDs becomes irreparably damaged, the Q205 lets you burn a CDR from the music in your collection—another handy feature the competition lacks.

User Environment

Once loaded, your music can be viewed in album art or library mode, with all data accessible via a touch screen of your choice. As with the setup, if you do not want to use a touch screen or iPad, a regular computer monitor and mouse will work, albeit at the sacrifice of some slickness.

The QSonix operates via playlists that you create and, if you so desire, save. The playlist appears on the right third of the monitor; the rest of the data occupies the left two-thirds of the screen. Merely drag tracks or whole albums over to the playlist, and the music begins.

The key to QSonix software is spontaneity. No matter how much music you’ve selected, a change of mood or direction requires no more than a touch. You can insert a track, tracks, or an entire album inside a current playlist or start fresh. If you’re feeling indecisive, random play is always a great option.

Cooler Than Cool

Everything I’ve mentioned makes the Q205 an amazing music server. But the QSonix iPad app puts it at the head of the pack—and by a considerable margin. Unlike all of the other major servers, which merely provide an awkward iTunes-like interface, QSonix ports the entire app to your iPad.

Now you can sit on your couch with a gigantic Wall-e beverage in hand and surf your music collection via album art. This is the way to roll, and once you get used to it, you’ll never want to go back. The iPad is incredibly handy when you have a group of friends over to listen. Just pass the pad around and let everyone have a shot at being DJ. Weaver’s market research concurred with my own unofficial findings: Most people remember music by the album art, and many do not want a gigantic computer screen in their listening room.  For anyone that does, a QSonix 15”, 17”, or 19” touch screen can be put on a coffee table or wall-mounted.

Settings preferences and media loading are the only parts of the QSonix interface missing from the iPad. You will either need that touch screen or a standard flat-screen monitor and PC mouse. At first, this seemed inconvenient, but in retrospect, it’s probably not a great idea to allow drunken party guests to have the ability to erase your music library.

Liberation from a tethered monitor also allows for the freedom of either putting the Q205 in another room (so it is out of sight) or simply mounting it in your rack. Where the Q105 made just enough noise that keeping it in a closet proved a good idea, the current model is so silent that you will not hear the fans even when sitting within close proximity.

Those wanting to use the Q205 in a multiple-system capacity can utilize the direct digital outputs in one system and the USB output as a separate zone. Both zones can be accessed via iPad or computer, and can simultaneously stream different music.

Fun, Fun, Fun

Perusing someone else’s music server is somewhat like sneaking a peek at your kid sister’s secret diary. So I couldn’t resist pushing play on “I Am a Girl Like You” from Barbie as the Princess and the Pauper. I’ll take Barbie over Patricia Barber any day, but one song is enough. Kidding aside, Barbie never sounded better, and it was easy to discern the perky track’s multiple overdubs and vocal processing.

Serious listening began in earnest with some recent 24/96 rips from my DVD-A collection, starting with Emerson, Lake and Palmer’s “Still You Turn Me On.” The progress the Q205 made over its predecessor became instantly evident.  The low bass had plenty of authority and low-level detail. Indeed, this server has gone from middle of the road to the front of the pack. Another quick comparison with MoFi’s Gold CD of Beck’s Sea Change revealed the same parity—the ripped file sounded identical to the original, if not a little bit more liquid in presentation. After hours of listening, it was unnecessary to go back to the CD tray for playback; the Q205 is that good. Digging deeper into the QSonix collection, I found a copy of Frank Zappa’s Trance Fusion and could not resist playing my favorite cut, “Ask Dr. Stupid.” See why a music server is so much fun?

Moreover, hi-res files proved easy to integrate into the Q205. No glitches with playlists containing tracks of varying sampling rates, and the QSonix software allows effortless and artifact-free switching, another plus.

Tweaks

Jay Leno once said car guys are either “wrench turners or check writers.” The same applies to computer audio disciples.  Because the Q205 takes care of most everything with its closed architecture, there isn’t much to tweak or change. But I suggest two things:  A good digital cable to go between it and your DAC, and a high-performance battery power supply from Red Wine Audio.  One of the latter’s Black Lightning supplies will take the Q205 completely off the grid and eliminate RFI caused by wall warts. Plugging the Q205 into a Black Lightning noticeably lowers the grain and takes the already high-quality playback a step closer to perfection.

Sound Quality, Functionality, and Portability

While I’m someone who always considered a music server a convenience component first and an audiophile component second, the QSonix Q205 changed my thinking. It not only raised the bar for the level at which a music server can perform, the device leaves its peers the dust. Its only limitation? The 2TB storage limit, which should be an issue for just a very small percentage of users requiring storage of greater than 4000 – 5000 CD’s.  We will be installing a QSonix system in our editor Bob Gendron’s system shortly to see how it fares long term.  Stay tuned.

QSonix Q205 Music Server

MSRP: $6,600 – $8,200 (depending on configuration)

www.qsonix.com

Peripherals

Preamplifier                                    Audio Research REF 5, Wadia 381i

Power Amplifier                                    Audio Research REF 150

DAC                                                Wadia 381i

Speakers                                     B&W 802 Diamond

Cable                                                Cardas Clear, AudioQuest Diamond (digital cable)

Power                                                Running Springs Maxim PLC

Roy Gandy, the founder of Rega Research, proceeds with new ideas and new products at his own pace. Two years ago, Gandy had a prototype table in his listening room that looked as if it could have been a replacement for the P9 turntable, the top end of Rega’s range. But with an impish grin, Gandy quickly pointed out that it was only an “engineering exercise” and that the concept could either make it into production in months, not at all, or “be incorporated somewhere else in the range.”

And now, we have the RP3. While the RP1 came to market as a replacement for the relatively recent P1, the P3 model that the RP3 replaces has been evolving for more than 30 years. Beginning its product life as the Planar 3 back in 1978, the P3 is not only the ‘table that put Rega on the map in the US but the one that gave the company the widest brand identity. It’s tough to find a veteran vinyl enthusiast that isn’t familiar with the P3.

So it isn’t at all surprising to see that, just weeks after its release, the $895 RP3 creating its fair share of buzz. From a technical standpoint, Rega upgraded a number of areas: The main bearing, tonearm, and plinth. (The 24-volt motor has not changed; it is the same motor found in the current P3-24 model.) What’s more, the company enacted the improvements while holding the line on the price. Fence sitters should grab an RP3 sooner than later. Its price already increased in the UK, and given the unpredictability of currency variations, there’s no telling how long the “introductory pricing” will last. Rega’s US importer, Steve Daniels mentioned that this is only for the US market and that it was his choice to keep the price down in order to build excitement for the new model.

Expecting a major overhaul? Move on. At Rega, it’s evolution not revolution, so current P3 owners need not worry that their current investment is worthless. Those that have an older ‘table lacking the 24-volt motor (P3, P3-2000, Planar 3, P2, and P25) can purchase an upgrade kit for $225. The new motor is better in every way—quieter and more balanced, translating into less rumble and a lower noise floor. The best reason for upgrading? The new motor allows you to add the TT-PSU power supply to the ‘table, and boasts the ability to change platter speed at the touch of a button (instead of removing the platter and moving the belt on the pulley) and further refinement of speed accuracy.

While Rega claims that the RP3 uses “virtually the same motor” as the P7 and P9, there is some variation on the theme. Higher-range models utilize more sophisticated power supplies, and the P9 uses a dual-drive belt system. This method follows Rega’s approach to tonearm design, where top-line RB 700 and RB 1000 arms start as the same casting but get machined, balanced, and assembled to increasingly higher standards. It’s one reason why Rega products offer such consistently high value; the firm doesn’t reinvent the wheel with every model.

On the new design, Gandy’s automotive engineering background instantly becomes apparent. He believes excess mass is detrimental to performance, and his ‘tables always champion low mass rather than a high mass approach that tends to go in and out of fashion. The RP3 advances this strategy, with a lighter-mass plinth than the P3-24. A careful look at the tonearm mounting reveals the new “double brace” that Rega incorporated. The machined part allows for increased stiffness between the tonearm and turntable bearing—perhaps the most critical area for structural rigidity. This is the key component in the RP3, and contributes to both the lack of midrange smear and generous soundstage width.

Apples to Apples

With a P3-24/TT-PSU already on hand as a reference ‘table, a direct comparison between it and the RP3 became painless courtesy of the two-input Audio Research REF Phono 2 preamplifier. Both ‘tables had a brand-new Rega Exact MM cartridge ($595) and were precisely set to 1.75g via the Clearaudio Weight Watcher digital scale. A quick check of turntable speed via test record and multimeter confirmed that both ‘tables were spot on at 33.3RPM. The REF Phono 2’s dual inputs were both identically configured for gain and loading, and thanks to a few sequential records from Mobile Fidelity, a direct comparison was only seconds away.

When using the Exact with the new RB303 tonearm, the plastic washer required for the third mounting screw is no longer necessary, a luxury that provides an even more secure mechanical connection between cartridge and tonearm. The three-screw mounting arrangement makes it much easier to get cartridge alignment right. It’s a shame more manufacturers don’t take advantage of this configuration.  For those wanting the ultimate convenience the RP3 can be ordered with the Elys 2 cartridge pre-installed for $1,095 or the Exact for $1,390.

The Comparo

Staff member Jerold O’Brien was enlisted to preside over the turntable connections and provide comic relief. To avoid any pre-conceived bias, he did not tell me what turntable was playing at any given time. He merely started both records, letting me switch between the two via the REF Phono 2 remote and take notes. It only took a few choice cuts to decide on “Input 2,” which ended up being the RP3. O’Brien arrived at the same conclusion a day later when he returned to check my progress.

Rega turntables have always had a fast, lively sound that some have found slightly thin. The RP3 offers a robust improvement in bass weight over the prior P3-24. While listening to favorites from Genesis, Pink Floyd, and Deadmau5, I noticed a firmer low end and additional texture. The new ‘table offered superior pace and bolder bass lines.

The RP3 also claims the edge in HF detail and freedom from grain. The P3-24 never sounded grainy before, but when listening alongside the RP3, the difference was clear. The gap widened when I added the TT-PSU external power supply to the equation.  The decrease in noise floor and increase in low-level detail allowed the RP3 to take advantage of the Exact cartridge to a degree that the P3-24 could not. Listening to Godley & Creme’s L revealed a density that’s always eluded me on ‘tables in the RP3’s price range. Much like a Frank Zappa composition, various layers of overdubbed information are present on the record, and while this characteristic won’t reveal tonality, it does reveal resolution. The RP3 kept the pace intact on “Sandwiches of You,” a particularly tough track that features spastic vibes, numerous vocal layers, and fitful drumming. Where the P3-24 becomes somewhat vague at the peak of such activity, the RP3 presents the layers sorted. Again, adding the TT-PSU paid considerable dividends.

The new RB303 tonearm is another major factor in the new ‘table’s increased clarity and resolution. While the two arms look similar, a rigorous examination of the pivot area reveals the new arm to be beefier than its predecessor. Combining the latter aspect with careful attention to mass distribution and improved bearings further explains the additional detail I experienced—particularly with acoustic music. When comparing nearly identical pressings of Traffic’s John Barleycorn Must Die, sax and flute solos possessed more body with the new ‘table, regardless of what pressing I spun.

Almost as telling as its performance with music, the RP3 handled the occasional pop and tick much more efficiently. Whereas such sporadic bits of noise had a certain amount of duration and overhang on the P3-24, the new ‘table quickly disposed of the annoying components. The resultantly improved transient attack gave drums a refreshing vitality, whether it was the processed Roland Space Echo solo during Peter Criss’ “100 Thousand Years” from Kiss’ Alive! or the pristine rhythms of Art Blakey’s “Elephant Walk” from Orgy in Rhythm.

For those fearing the REF Phono 2 too upscale for a pair of $900 turntables, the difference between the RP3 and P3-24 is still easily discernable when listening through the Croft Micro 25/Series 7 combination we reviewed earlier this year, via a pair of recently restored JBL L-100s. To make the test even tougher, the highly un-audiophile speakers were connected to the Croft combo via 16-gauge Radio Shack lamp cord.

A New Benchmark

With so much chatter about high-resolution digital files and new $1,000-and-under DACs introduced on what feels like a monthly basis, it’s refreshing to see this much dedication spent on an equally priced turntable. The RP3 stands as one of the best price/performance ‘tables on the market today. If you can add the Exact and TT-PSU to your budget, all the better. But if not now, they certainly make for a great upgrade path as you go further down the road. Enthusiastically recommended.

Rega RP3

MSRP:  $895, TT-PSU $375, Exact Cartridge $595

Manufacturer Information

www.soundorg.com (US)

www.rega.co.uk (UK)

Test Hello.

With all of the emphasis on digital music recording these days, I’ve decided to make an about face and dramatically go old-school. Back in the 80s, the Nakamichi 550 was the ultimate portable analog recording deck. With peak reading meters and solid frequency response out to 18khz, it’s highly capable as a home or portable machine. Originally, it was meant to run on an AC adapter or 8 D-Cell batteries. (Buying that many batteries made me feel like Radio Raheem in Do the Right Thing. “I said D batteries, motherfucker!”) To stay green, a Black Lightning rechargeable battery supply is on the way from Red Wine Audio http://redwineaudio.com/components/black_lightning .

The unit pictured here is just about finished getting tuned up by the master, Willy Hermann from Willy Hermann Services. If you’ve got a Nakamichi deck that needs attention, give Willy a call. He rebuilt my Nakamichi Dragon to perfection and since its return, my reel-to-reel deck has been collecting dust. Who knows? Perhaps the 550 might make an appearance at one of next year’s hi-fi shows.

www.willyhermannservices.com

It’s a great time to be a vinyl enthusiast. Despite all the excitement over five- and six-figure turntables, many audiophiles are not spending that kind of dough on record players. There are a lot of music lovers exploring vinyl for the first time and getting their feet wet with a $300 to $500 table-and-cartridge combination, but if you really want a stronger dose of analog magic (and remember, digital keeps getting better all the time), you need to spend some more money.

How much money you ask? I’ve always felt that about $1,500 to $2,500 is an excellent plateau for a turntable and phono-cartridge combination. If you can increase your budget to this range, you’ll get a much more substantial analog experience than an entry-level table has to offer without heading off to never-never land. Of course, this number is not in stone, but this is where I’ve always felt you can really enjoy the subtleties that make analog fantastic. For the time being, I’m assuming that you already have a phono stage built into your preamplifier or have a suitable outboard phono stage already on hand. If not, budget about another $1,000 here and you will be well rewarded.

If you can afford to make this kind of investment in an analog front end, there are a plethora of choices when shopping for a new turntable. There are some bargains to be found on the web occasionally, but more often than not, used-turntable transactions end up with a frown instead of a smile because precious few people take the necessary care to pack a turntable so that it reaches its destination in one piece. So for now, let’s talk new.

The competition

There are some great tables in the $1,000 to $2,000 range from Rega, VPI, Pro-ject and a few others, not to mention the outstanding Clearaudio Concept we reviewed just recently. Add one more to your list: the Consonance XBB is the real deal, and it takes a different approach than the others in its immediate price range, making it very intriguing.

Ian and Rachel at Grant Fidelity have been importing some great gear from China over the past few years combining high performance with some very reasonable prices, and their customer service has been exemplary. We just reviewed their Shugyuang Premium EL-34 tubes last issue and they are fantastic. And well-worth mentioning, their customer service is second to none. So I was very excited to receive their latest turntable, which has an MSRP of $1,465 with the standard nine-inch tonearm. For an additional $210, you can add a 12-inch arm tube that will require configuring the turntables’ base differently so you can achieve the proper spindle-to-pivot distance required for the 12-inch tonearm.

Construction

The XBB is a plinth-less design that goes together quickly. Once you remove the metal bars that make up the base and lower the one-inch-thick acrylic platter onto the bearing surface, the only remaining step is to attach the unipivot arm and dial it in with your favorite cartridge. And what a cool tonearm it is! The long, carbon-fiber shaft is somewhat reminiscent of the one featured on the Well Tempered Arm, with a quick disconnect so that additional arm tubes can be easily substituted. Once exposed, the main bearing can be filled with the supplied oil to damp its movement.

The Consonance arm uses a threaded tube that allows you to set the VTA easily for any cartridge, which is a rarity at this price point. Once you snug down the two round washers on top and below the arm mount, there is a 4mm Allen bolt in the turntable base to snug the tube the rest of the way. Fail to take this last step and low bass will suffer.

The other side of the tonearm connector has a short pair of unshielded leads that connect to a pair of RCA jacks, allowing you the flexibility of choosing your own phono interconnect. While convenient in theory, this was my only complaint with the table. With these just hanging loosely from the tonearm mount, I see this as an area that could be problematic for someone who accesses this on a regular basis, changing cables. You could very easily bump the counterweight and send the tonearm bouncing across a record. Set-it-and-forget-it types will be fine, and in all fairness, I’d still rather see this arrangement than have such a good turntable be handicapped by a mediocre tonearm cable that is hardwired in place.

When unpacking the Consonance turntable for the first time, be careful not to misplace the belt; it is a very fine, monofilament material (much like fishing line) wrapped around a tiny paper bobbin. It does not stretch at all. So again, caution is the word when installing it.

Cartridges and setup

Once assembled, a quick speed check with the Acoustic Sounds test record and my digital multimeter revealed that all was well. The 1000 Hz track played at exactly 1,000 Hz right out of the box.

The Consonance arrives sans cartridge, but I did try a range of cartridges in the $400-$1,000 range, settling on the Clearaudio Maestro Wood MM. I was able to achieve excellent performance with the Lyra Dorian as well, but staying with a moving-magnet design really kept with the ethos of not getting too carried away with the checkbook on this setup. If you already have a MC preamplifier, a great MC cart in the $1,000 to $2,000 range will not embarrass this table.

Cartridge setup is straightforward, but if you’ve never used a unipivot arm before, the “floppiness” at the pivot point is somewhat unnerving until you get accustomed to it. When setting the azimuth, it’s critical to have the half-moon shaped counterweight perfectly level or you will have some serious channel-balance issues. You will spend a bit of time going back and forth between optimum tracking force and perfect azimuth adjustment, but your cartridge will be much better off for it. Anti-skate is set with a small hanging weight, as is common on many of the Pro-ject arms.

The table was auditioned primarily in my second system, consisting of the McIntosh C500 preamplifier and MC 1.2kw power amplifiers driving a pair of B&W 805D speakers with JL Audio Gotham Subwoofer. Near the end of the review period, it was transferred to my main system to provide direct comparisons with my reference table/cartridge combinations.

Sound

I was immediately struck by the openness of the presentation with the Consonance and spent an uncharacteristically long time listening to female vocalists. When listening to K.D. Lang’s All You Can Eat LP, there was a wealth of inner detail that is not normally present to this degree on similarly priced tables. It seems like Consonance and Clearaudio have both raised the bar substantially for turntable performance in the $1,400 range. I noticed the same effect with Fleetwood Mac’s self titled remaster on Mobile Fidelity; as Christine McVie’s voice faded out on “Warm Ways,” there was a longer gradation between the softness in her voice than that delivered by my trusty Technics SL-1200 on input 2. This is indicative of a solid-bearing design, not letting the finest details get lost in the noise floor. And just like the Clearaudio table, the DC motor responds very well to battery power, giving this table even better low-level resolution. But that’s an article for another time.

In fear of mellowing out too much, AC/DC’s 12-inch 45 maxi single of “Let’s Get It Up” was the next selection, and if you are an AC/DC fan, searching one of these out is a must. Although the album on which this track is originally featured (For Those About to Rock) is somewhat compressed, spreading this track out on a full side of vinyl spinning at 45 rpm is a tour de force of rock dynamics, giving you a tremendous insight into what a wall of Marshall amplifiers really sound like. Make no mistake, this table can rock and even though the Consonance is a suspensionless design, it is relatively impervious to acoustic feedback, even at high SPL.

While the battery power will increase the resolution of this table, the parameter that might drive you crazy is making the choice for a mat. The table comes supplied with a 2mm thick, spongy rubber mat. Ian told me that the table’s designer prefers to use the table with no mat, but that was a bit too harsh for my taste. If you have a cartridge possessing a more lush tonal balance, this may be just perfect. Experimentation on the mat is a worthwhile endeavor and will help you fine tune the table to your liking.  For now, the standard issue, Rega felt mat is my favorite and easily removable arm wands make it easy to use multiple phono cartridges.

Conclusion

Add the Consonance XBB to the very short list of fine turntables in the $1,500 to $2,000 range. It offers everything that an analog lover would want (great sound, ease of setup and a tweekable upgrade path) with no downside at a very reasonable price. This one is joining our long-term turntable fleet.

www.grantfidelity.com

Building on the success of its latest phono preamplifiers, UK turntable manufacturer AVID has set its sights on the cable market. We’ve received the SCT interconnects and ACT speaker cable, so they are playing nicely in system two, consisting of the McIntosh C500 control center, ARC REF 150 power amplifier, and a pair of B&W 802 Diamond loudspeakers. Of course, there is an AVID table in the mix—two of them, actually, the Diva II and Diva II SP (also in for review).

Glamour shots have just been taken, so we’ve just begun listening. So far, so good, but we’re not letting the cat out of the bag just yet. Stay tuned to our Facebook page for review progress, but right now, it looks like AVID has produced another winner.  For more information, click here.

Merely mentioning that you still listen to vinyl records in casual conversation amongst non-audiophiles almost always invokes a raised eyebrow. And if you try to explain the thrill of vacuum tubes, people that don’t give you a dog-like stare will surely move you to the penalty box. But as vacuum tube fans know, current designs continue to advance like the Energizer bunny, with the best examples light years ahead of the humble beginning of the Williamson circuit from the 1940s. In 1955, the Heathkit version of the original circuit claimed to have “performance far beyond the finest speaker systems available.”  Much has improved since then.

Hailing from Germany, the Octave MRE 130 monoblocks look straightforward in terms of aesthetics. But they’ve also combined a few unique features, along with meticulous attention to detail, to create a pair of power amplifiers that sit at the top of their class. The standard MRE 130 monos run $16,000 per pair, and thanks to external power supply modules ($7,500 additional per pair), allow for the option of taking their stunning performance even further.

The most distinctive aspect of these amplifiers is the substantial redesign of the classic pentode amplifier circuit. The first part of the Octave approach is its power management system, which not only provides a soft start for the tubes, but also furnishes a separate supply that is optimized for the input stage—as well as another for the output stage and a third section that takes care of the additional current requirements of the pentode circuit. In addition, an electronic protection circuit protects the amplifier from damage, should tube failure occur while remaining audibly transparent.

While Octave has only been distributed in the United States for a few years, the company began in 1968 when founder Andreas Hoffman’s father began a transformer-winding factory in Germany. Hoffman started building solid-state amplifiers in 1975 and turned his attention to tubes in 1977. In the years that followed, his products won numerous awards in Europe and Asia.

The MR 130 amplifiers are rated at 100 watts per channel into an 8-ohm load and 130 per channel into 4 ohms. Available in silver or black, the MR 130s are substantial at 46 pounds (22.7kg) each, but not so heavy that they need more than one person to lift.

Setup

Removing the tube cage reveals a complement of two 12AU7s (ECC82C) and a 6C5 as driver tubes, with a quartet of 6550s for the output stage. They can also be configured with KT88s. The review pair came with KT88s installed, and Octave was thoughtful by including two spare power tubes. The company should also be praised for producing one of the most comprehensive and well-written manuals in the industry. It offers background on the design, a thorough explanation of how to properly bias the tubes, and finally, for the technically inclined, measurements.  Hoffman has indicated that future versions of the MRE 130 have been slightly modified to ship with a 6SN7 in the place of the 6C5, to make it easier to find replacments, but assured me that there is no change in sound.

Once the tubes are installed in their respective sockets, the output tubes need to have proper bias set. Five LEDs indicate bias status. A middle green LED indicates correct bias, while a yellow one to the left of center glows with an underbias situation and a yellow one to the right indicates overbias. An orange LED all the way on the far left is used when installing a fresh set of tubes. Finally, a red LED on the maximum far right position only lights when a tube is defective.

The remainder of the setup is straightforward, with two pairs of easily accessible speaker binding posts and a pair of RCA and XLR input sockets. Input type is selected via a switch, and the inputs can be shorted as well, so you can change cables without causing amplifier or speaker damage. XLR connectors are offered, but the amplifier is not fully balanced, as Hoffman doesn’t feel that it’s a superior way to design a tube amplifier.

Although the manual states that output tubes can take “up to 300 hours to sound their best,” my review samples had just come from the Rocky Mountain Audio Fest, where they had about a week on the clock. I did not hear a change in amplifiers’ sound character during the test period, other than that of initial warm-up. The MRE 130s require about 45 minutes to sound their best.

It’s also worth mentioning that an output tube failed during the course of this review, and while such an episode may have caused drama with other amplifiers, the MRE 130 simply went quiet. The corresponding red LED lit up to indicate the defective tube. Once the latter was replaced, the MRE 130 went back to performing flawlessly.

Listening Impressions

Beginning with a handful of audiophile classics, I was instantly struck by the soundstage depth and fine detail offered by the MR130s. The LP of the Fleet Foxes’ debut encapsulated such characteristics, keeping the band members’ harmonies wonderfully separated. And the title track from the new Fleet Foxes record, Helplessness Blues (reviewed this issue), proved quite a treat as well. The heavily layered vocals were easy to pluck from the main musical line, as they floated above and in front of the big bass drum in the background.

John Fogerty’s version of “I Put a Spell on You” from Creedence Clearwater Revival’s self-titled album (45RPM Analogue Productions version) proved equally captivating. Shortly thereafter, the band’s “Suzie Q” equated to retro treat, with the lead guitar distinctly defined in the far left channel, full of glorious distortion as Fogerty chimed in and out of the right channel. Yet the bass guitar sounded diffuse, hanging back behind the performers. It was as if bassist Stu Cook was off playing in another room.

While most tube amplifiers impart a glorious sense of pace and a generous measure of air, they usually falter in the area of bass control. But the MRE 130s did not fall victim to the common problem that plagues all but the world’s best tube amplifiers— proof that Hoffman’s power-supply design is highly successful. The funky bass lines in George Michael’s “Hard Day” from Faith arrived with just the right amount of weight and grip, and without losing control. Keep in mind that this song usually overwhelms most tube amplifiers and ends up boomy.

I was equally impressed with the deep bass performance of the MRE 130s when grooving to George Clinton’s “Why Should I Dog You Out?” from The Cinderella Theory. If you have speakers capable of delivering major low-frequency extension, the MRE 130s will step up to the plate. Depth and dimension were definite specialties of the MRE 130s even if they weren’t the equivalent of my Burmester 911 mk.3s. But the Octaves were about to make some big performance gains.

Increasing Performance: Step One

Users not interested in experimenting with different tube configurations will enjoy the MRE 130s as outfitted at the factory. However, if you are a maniacal tube enthusiast that always searches for more performance, rest assured that more is on tap. Towards the end of the review period, the new KT120 power tubes were released. And while this model isn’t a plug-in replacement for every amplifier that utilizes 6550 or KT88 tubes, Hoffman assured me that the MRE 130s’ power supply was up to the task of this particular tube’s increased current demands.

Hoffman also claims that, without redesigning the amplifier, it really won’t produce much more power than with the stock KT88 tubes. Yet, with the KT120s installed, the sound quality tremendously improved on both ends of the frequency spectrum. Bass became deeper and tighter, with even better control than before. The MRE 130s already exhibited some of the most controlled bass I’ve ever heard from a tube amplifier, and with the KT120s, they offer even more grunt.

At the other end of the spectrum, more air circulated around cymbals than before.  Heading back to the CCR catalog, the high hat cymbals seemed to float better while the overall sound achieved a heightened level of refinement. Acoustic instruments became fleshed out with more body; the more complex sounds of the violin and piano took another step towards reality. Originally recorded to two-track 30 i.p.s. tape, Liz Story’s Steinway on her Solid Colors LP suspiciously sounded like the one in my living room.  The amplifiers did an excellent job of letting me just forget about the gear and get lost in the musical presentation.

While the MRE 130s came with a pair of JJ ECC82s (12AU7) installed in each unit, swapping them out for the new Pvane 12AU7s from Shunuang yielded more delicacy. Substituting your favorite NOS tube may change the tonal character of the amplifier, but the new Pvane tubes did not alter tonality. They simply dropped the noise floor of an already very quiet tube amplifier even further, and peeled off a layer of grain that I didn’t previously know existed.  If you do nothing else to your MRE 130s, I highly suggest making this small change.

Step Two: Adding the Big Black Boxes

After becoming thoroughly familiar with the MRE 130s in their stock form and then again with upgraded tubes, another big performance jump came via the Super Black Box, which incidentally, is silver. While a pair of Super Black Boxes add $7,500 to the MRE 130s’ price tag, the improvement is major—and well worth it. As you might suspect from such a substantial upgrade, the soundstage immediately became larger in all three directions, the upper register had more clarity, and the bass possessed even more heft and control.

Whereas Naim gives you the opportunity to add a completely different power supply, the Octave Super Black Box is a giant capacitor bank tethered to each amplifier by a massive power cord and connector. Once powered up, the Super Black Box has a blue status indicator—just like the power amplifier. Should you feel the need to disconnect them, a yellow LED glows for approximately two seconds, indicating the discharge. Hence, you will not be exposed to any harmful voltage when unplugging them.

Digging through deep tracks to locate old-school synthesized bass, I dusted off Edgar Winter’s Jasmine Nightdreams. The second cut, “Little Brother,” has a fairly loose and whumpy albeit powerful bass line that was much more agreeable with the Super Black Boxes in place. The song lost some looseness but not the character of the bass.  I discovered the same effect when playing “Word Up!” from Korn’s Greatest Hits, Vol.1. The driving bass line attained more authority and punch than before, an experience that led me to revisit most of the initial tracks I used to determine the MRE 130s’ character. A definite transformation.

Still, the improvements afforded by the Super Black Box went beyond bass performance. The three-dimensional aspect of the presentation increased to the point that I felt as if I were listening to surround sound. Kraftwerk’s Tour de France took on an uncanny sense of depth that normally requires an analog source to achieve. I found myself listening start-to-finish to several albums in the digital format that I normally experience one or two tracks at a time before moving on. The MRE 130s’ resolution healthily expanded, as did the jump in dynamic range.

Hoffman also told me that one of the side benefits of additional power-supply capacity lowered the amplifier’s output impedance, which accounts for its spectacular bass performance. Such extra capacity also gives the MRE 130s’ the ability to more easily drive difficult loads. I had no problem driving my MartinLogan CLX speakers or the Magnepan 1.6s, each notoriously tough to drive with tubes. Without the Super Black Boxes in place, the MRE 130s ran out of juice with the Magnepans and rolled off the highs with the CLXs. This upgrade is a must if you plan on using these amplifiers with either speaker.

Before adding the upgraded tubes and Super Black Box, the MRE 130s took a back seat to my Burmester 911 Mk. 3 monoblocks in terms of imaging and delicacy. But, after I made the changes, the Octave units held their own in these areas when played within their limits—very impressive for a pair of amplifiers that cost one-third as much as the Burmester gear.

Conclusion

While I can’t imagine using the Octave MRE 130s without the Super Black Boxes now that I’ve had the experience, they are fantastic amplifiers without the add-ons, and Octave is to be commended for giving the end user the opportunity to work their way up to a statement product.

The Octave MRE 130 monoblocks should satisfy all but the most power-hungry systems. If 130 watts per channel is not enough, Octave also produces floor-standing Jubilee monoblocks, which we will audition in the near future. If you’ve always wanted the benefits of tube amplification without any of the drawbacks, these amplifiers are for you.

Octave MRE 130 Monoblock Amplifiers

MSRP: $16,000/pair; Super Black Box: $7,500/pair

Manufacturer Information:

www.octave.de

Peripherals

Analog Source                        AVID Acutus Reference SP w/SME V and Koetsu Urushi Blue

Digital Source                        dCS Paganini (4 box stack), Sooloos Control 15

Phono Preamplifier            ARC REF Phono 2, Octave Phono Module

Preamplifier                        Burmester 011, McIntosh C500

Speakers                        GamuT S9, MartinLogan CLX, Magnepan 1.6, B&W 805D

Cable                                    Cardas Clear

Power                                    Running Springs Maxim and Dmitri power conditioners, RSA and Shunyata power cords

Accessories                        Furutech DeMag, SRA Ohio Class XL+² equipment platforms, Loricraft PRC -2 record cleaner

CD22 CD Player

The CD22 is the successor to and upgrade for the successful CD21 CD Player.  It is housed in Primare’s signature heavy alloy chassis, designed to provide strength, rigidity, and isolation, while also damping vibrations from external sources.

The internals include a switchable sample rate converter (44.1/48/96/192kHz), single Burr-Brown PCM1792 DAC with active MOSFET transistor, and SMD technology that keeps the signal paths isolated and as short as possible.  Also befitting its audiophile credentials, the CD22 contains no capacitors in the signal path: a DC servo takes care of any DC offset present in the circuit or from the DACs.

The display of the CD22 is isolated from the audio circuits and is dimmable in 4 steps (when connected to the I22 via IR, the CD22 and I22 display brightness can be matched). RS232 is included for connection to a larger home automation system.

INPUTS: USB, IR 3.5mm, RS232, Trigger 3.5mm

OUTPUTS: 1pr x RCA (analogue), 1 x S/PDIF (digital), 1 x optical (digital), RS232, IR, Trigger

The CD22 is available in black or silver finish for immediate shipment at a US retail price of $1695.

I22 Integrated Amplifier

The I22 is a 2 x 80wpc Class D Integrated Amplifier that utilizes Primare’s proprietary UFPD power technology.  It is designed to provide high power output with very low distortion as well as system control for the new 20 Series range of separates.  The I22 is proud to be “green”, as its Class D design makes it extremely efficient without generating excessive heat, and its standby mode only consumes 0.3 W.

Inside the heavy alloy chassis are two discrete UFPD amplifiers, with the preamp section fed by its own dedicated power supply.  All signal paths are as short as possible and all signal controls (source selection, volume, and channel balance trim) are performed purely in the analogue domain.  Volume and balance controls employ a single LM1972 attenuator; source selection is via high performance relays.

ULTRA FAST POWER DEVICE (UFPD) TECHNOLOGY

The use of switch mode power electronics is gaining in popularity as the result of its lower energy consumption and as a way to squeeze more amplifier channels into smaller spaces.  Unfortunately Class D amplifiers and their switch mode power supplies have traditionally deserved a reputation for poor audio quality, characterized by rising THD with frequency. Primare’s UFPD (Ultra Fast Power Device) technology, however, provides for the possibilities of a full-range ‘audiophile’ Class D design. It features a consistent 26dB feedback loop gain across the entire audio bandwidth and is stable way beyond the audible frequencies. This is quite easy to achieve in conventional linear ‘continuous signal’ amplifiers, but much more difficult in ‘non-continuous’ high speed switching amplifiers.

Rather than have the amplifier and then the filter as discrete stages, the UFPD design integrates the two, making control with feedback much more immediate and accurate.  The UFPD amplifier actively adapts the loop gain to keep the total loop stable during start-up, clipping, and current limit.  It senses the changes to the filter output and compensates by applying the precise amount of feedback.  This adaptive pole control allows for several more dBs of constant loop gain across the audio band and maintains performance irrespective of load (impedance) variations.

The UFPD treats all signals equally, regardless of frequency or slew rate, and has the ability to suppress the filter resonance entirely.  Consequently THD is kept very low at all frequencies.  With this very wide “load independent” frequency response, UFPD is able to drive any speaker while maintaining control and accuracy.

In conjunction with UFPD, Primare uses an isolated PFC (Power Factor Control) technology in the power supply, which controls the current from the mains voltage so that it is a pure sine wave with the same frequency and phase as the mains voltage.  The isolating stage of the converter works in a ZVS mode and as a result, the switch flanks contain a lower quantity of harmonics, providing lower EMI and a clean environment for the amplifiers to work in.

OPTIONAL DAC BOARD

An optional retailer-installed DAC board is available for the I22, allowing not just the connection of an existing CD player but also the streaming of music files from PCs and Macs.  Three digital inputs are included: isochronous USB-B (16-24bit/44.1-96kHz), optical (16-24bit/44.1-192kHz), and S/PDIF (16-24bit/44.1-192kHz).

The DAC consists of two chips: Analog Devices’ AD1855 and TI’s PCM1792A.  And although the I22 uses a conventional USB input, it is non-standard, exhibiting reduced jitter and improved clock performance by using TI’s USB streaming chip TAS1020B.

SPECIFICATIONS

Output Power            2 x 80wpc at 8Ω, 2 x 160wpc at 4Ω
Analogue Inputs        4 pair RCA

Optional DAC Board        1 x USB-B Input
1 x Digital Optical Input (TOSLINK)
1 x Digital Coaxial Input (RCA)

Input Impedance        15kΩ
Analogue Record Out        1 pair RCA
Pre Out            1 pair RCA
Output Impedance        RCA 94Ω
Frequency Response        10Hz – 20kHz, -0.5dB
THD + N            < 0.05%, 20Hz – 20kHz, 10W at 8Ω
Signal-to-noise            -95dB
Power Consumption        Standby: 0.3W, Operation: 19W
Net Weight            10kg

The I22 is available in black or silver finish for immediate shipment at a US retail price of $1695.

The optional DAC board for the I22 is also available immediately at a US retail price of $595.

After hundreds of hours of initial listening, the Decware Zen Torii continues to improve, as designer Steve Deckert said it would.  While the full review will be in issue 40, suffice to say that this is one of the most musically engaging amplifiers I’ve had the pleasure to experience.  If you’ve ever spent time with a great SET and thought “If this only had 2-3 times the power, I could live with it,” your ship has arrived.  After owning a number of the world’s finest SET amplifiers, I can easily support Deckert’s claim that the Zen Torii is certainly the equal of any SET I’ve owned.

The best news is that the Zen Torii has 25 watts per channel.  Utilizing a pair of EL34 power tubes per channel as well as tube rectification and voltage regulation, it offers a sound that is fast, detailed and dynamic, with bass and treble controls that let you fine tune the amplifier to your speakers.  These are not tone controls in the classic sense, altering the frequency response of the amplifier.  The bass control controls the impedance match with your speakers, so it doesn’t increase or decrease the amount of bass as it does change the tonal character of the bass from soft to taut – so there is no right or wrong setting, but it does allow you to tailor the sound exactly to your liking.  Per the instruction manual, the treble control allows a gentle roll off of the high frequencies and is not in the actual signal path.

Digging further in the well written and illustrated owners manual reveals that this amplifier is a tube rollers’ delight, with a number of options available.  So far, we’ve stuck with the stock tubes, but when the rainy winter season hits the Pacific Northwest again, it will be time for some experimenting.  I’ve been stockpiling a few different types of EL34’s, some variations on the 5U4 rectifiers and even a couple of different voltage regulators.  If for no other reason, the blue glow of a pair of OB3’s looks like fun.

But all techie goodies aside, this amplifier sounds wonderful.  Pricing for the standard Zen Torii is $2,975 and the model reviewed here features a $500 V-Cap upgrade and a 21 position stepped attenuator, which will also allow you to maximize the output of your preamplifier to get maximum dynamic range.

These are 25 of the best watts you will find anywhere, at any price.  If a 25wpc tube amplifier is your idea of nirvana, I suggest calling Mr. Deckert now and getting in line, there is usually a waiting list for one of his amplifiers – but your patience will be rewarded!

www.decware.com

(photo courtesy of Decware)

“Where’s the sub?” Those were the first words out of my mouth as I entered Danny Haikin’s office at B&W in London earlier this year. He just smiled and said, “There isn’t one. That’s just coming from the two desktop speakers.” Then we spent the better part of the next hour talking about music while I got a proper demo of B&W’s latest masterpiece, built upon the technology incorporated in its Zeppelin models.

Indeed, a few years ago, B&W wowed the desktop/iPod world with its original Zeppelin and built on that success with the Zeppelin Mini and recently, an upgraded Zeppelin model. My tour of the B&W factory (full article to follow in a future issue of TONE) revealed a substantial amount of brain trust devoted to the Zeppelin line. The forward-thinking mindset has paid off handsomely for B&W, which now sells the Zeppelin and MM-1s through Apple stores as well as its own dealer network.

Like the rest of the B&W range, the MM-1s possess the understated elegance for which the marquee is known. While the $499 price might initially catch you off guard, the first listen proves reassuring. Incorporating a version of the Zeppelin’s DSP (digital signal processing) engine, the MM-1s are a two-way active speaker system that uses a tube-loaded tweeter—just like those in the company’s higher-end models—and a long-throw bass driver. The brochure claims that the MM-1 “is a true hi-fi speaker, shrunk to fit on your desktop,” and is absolutely correct.

Each of the MM-1s only takes up a 3.9 inch (100mm) x 3.9 inch square on your desktop and stands a mere 6.6 inches tall (170mm). The enclosures are wrapped in black textured grille cloth that is similar to B&W’s larger speakers, and trimmed with a brushed aluminum band and top plate. Our art director’s design sense immediately piqued during the photo shoot.

Quick Setup

The MM-1s looked like so much fun that I resisted the urge to read the instruction manual. I’m happy to report that the average computer user can be rocking in a matter of minutes. Three essential connections need to be made: The 4-pin umbilical from the left speaker to the right, the USB port from the right speaker to your computer, and the power supply to the right speaker.

I had to sneak inside my iMac’s sound control panel to direct sound output to the MM-1s via USB, but that was about it. The only glitch in the operation came when using the Control:Mac software with my Sooloos music server. For those accessing a Sooloos, you will have to use the supplied AUX cable to go between your Mac’s headphone output and the MM-1’s AUX input. The Mac will not send audio output from the Sooloos back out via USB. iTunes and Rhapsody users will have no trouble.

Once connected, volume can be controlled via the chrome band on the right speaker, the control panel on your computer, or with the egg-shaped volume control that is standard issue for the Zeppelin series. This is incredibly handy, should you utilize the MM-1s outside of an immediate desktop region. They actually worked quite well in my kitchen, fed via a nearby Apple Airport Express.

Verifying Initial Observations

To be sure I wasn’t brainwashed at B&W’s HQ with a tarted-up prototype, I began my listening sessions with tracks containing some bass.  First up, Thomas Dolby’s “Pulp Culture” from Aliens Ate My Buick. Then, after auditioning a few quick cuts from Tone Loc’s Loc-Ed After Dark, I was firmly convinced that the MM-1s had enough bass on tap. The warm sound I remembered from my London visit confirmed that these are serious desktop loudspeakers.

The B&W DSP engine works wonders, allowing the MM-1s to disappear on your desktop in an almost uncanny way. Prince’s One Nite Alone perfectly played to this strength, creating a soundfield that went well beyond the desktop’s borders. While not always convenient in an office environment, spend 30 minutes with the MM-1s, and you’ll never want to listen to headphones again.

With rock, rap, and funk checked off, time spent with acoustic music confirmed the speakers’ versatility and shared heritage with top-line B&W models. The Sooloos made it incredibly easy to switch between the desktop system with the MM-1s and my reference system built around B&W 805Ds. Both pairs of speakers had a similar, airy character, especially with piano and violin. Listening to Keith Jarrett’s Shostakovich: 24 Preludes and Fugues, Op. 87 equated to a spectacular experience on the desktop; with my eyes closed, it seemed like a piano was floating on my desk.

Serious Resolution

An uncanny level of resolution sets the MM-1s apart from many of the other powered computer speakers I’ve experienced. They reproduce spatial cues and create a three-dimensional soundfield in a way I’ve yet to experience with this type of product.

Even the most inexperienced listeners are easily able to hear the difference between low-res MP3 files and standard 16bit/44.1khz files of the Rolling Stones’ Through the Past Darkly. Yet the variation became more stunning when playing back the HD Tracks’ 24 bit/176khz versions. My friends were not only amazed by how much more information surfaced, but how effortless it was to discern such detail on a pair of $500 desktop speakers. For example, the texture in Mick Jagger’s voice on “Ruby Tuesday” proved staggering.  The only way I could get my desk back was to blast Steel Dragon’s “Death to All But Metal.” And while this deejaying change helped me regain my personal space, the MM-1s were still clearly up to task.

No Need to Fear High-End Sound

If you’ve been on the sidelines or fearing the complex world of high-end sound, jump in with a pair of B&W MM-1s. You won’t need any special cables or know how. And the speakers won’t leave a huge dent in your wallet.  Just plug them in and enjoy your music in a much more immersive way than you did before. Who knows, you might even be tempted to head to your B&W dealer for a pair of 800s one day. Good sound is contagious. This is truly a product you will wonder how you ever lived without.

Click here to visit the MM-1 site.

Features

The Music Never Stopped
By Bob Gendron

Macro: Our New Section Devoted to Desktop Audio
By Jeff Dorgay

Old School: The Ten Best Buys in Vintage Audio
By Jerold O’Brien

Tone Style

The Beer Snob: Three Summer Beers
By Bob Gendron

DEVO’s Vegan Shoes

Monster Clean Touch Pen

Railway Maps of the World

Estes’ Big Daddy Rocket

AQ Binding Post Wrench

Hipgnosis – For the Love of Vinyl

Music

Live Music: The TONE Staff covers Twilight Singers, Keren Ann, Buffalo Springfield and Orange Goblin

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

Audiophile Pressings
By Paul Rigby and Jeff Dorgay

Jazz and Blues
Three new releases
By Jim Macnie

Previews

Classe CA-M300 Power Amplifiers

AVID Diva II and Diva II SP Turntables

Bryston 10B Electronic Crossover

Reviews:  All Budget Gear!

The Magnepan MMG Loudspeakers
By Jeff Dorgay

The Arcam R-Dac
By Paul Rigby

The Klipsch Heresy III Loudspeakers
By Jeff Dorgay

The Rega Brio-R Integrated Amplifier
By Jeff Dorgay

The Pro-Ject Essential Turntable
By Paul Rigby

The Vienna Acoustics Haydn Loudspeakers
By Jeff Dorgay

The IsoTek EVO3 Serius
By Jeff Dorgay

The GemmeAudio Tonic G5 Loudspeakers
By Jerold O’Brien

“Who Is Interested? Well, I Am”

A Conversation With Pink Floyd Drummer Nick Mason

By Bob Gendron

Pink Floyd’s forthcoming reissue series may represent the final time that a major artist’s full catalog receives the deluxe treatment in the manner of enhanced CDs, multiple box sets, redesigned packaging, and auxiliary analog reissues. In an era where most significant artists already witnessed their output re-released in remastered form, and where record labels are increasingly reluctant to manufacture box sets or invest in fancy physical media, EMI is celebrating the British group’s legacy with an exhaustive project that has few peers.

Going well beyond that of EMI’s excellent Beatles remasters series, Pink Floyd’s rollout features reconfigured sound, artwork, inserts, and more—as well as various multi-disc sets that include scads of unreleased and/or rare audio and visual footage. While the reissues don’t street until late September, drummer Nick Mason—the band’s only contiguous member—recently talked with editor Bob Gendron about various details, memories, and procedures related to the massive campaign. In clarifying truths and recalling history, his insightful comments will likely surprise even the most diehard Floyd fans and committed audiophiles.

B: You’ve heard Pink Floyd’s studio records countless times. What jumps out at you when you listen to the new remasters?

N: The thing that strikes me is not so much the quality, although that is interesting and improved. But [the pleasure] really comes from listening to things that I’ve forgotten about. For all of our career, we never really ever revisited old demos or leftover material. The tendency has always been to put that to one side when the record is finished or when we’ve moved on and started doing other shows. Sometimes, you come across ideas that are still quite fresh or interesting, and while they were superceded by some new idea, they still have validity in their own right.

B: Is there anything specific you heard that you feel the band should have revisited?

N: The one that astonishes me that we didn’t pick up on is a version of “Wish You Were Here” that has [violinist] Stephane Grappelli playing on it. First of all, it was just a delight to hear because I always understood that it had been recorded over and we had no record of it. But also, when I did hear it, I was astonished. And I haven’t done so yet, but I must ask Roger and David if they can remember why on earth we didn’t use it. It’s still incredibly powerful.

B: Having had the chance to survey the catalog again, what is the single piece of music  closest to your heart?

N: A version of “On the Run,” recorded long before we actually put it together on the record with the VCS3 tape loop, where it’s played as sort of a jazz piece. It has a rather uptempo drum thing. I listened to it and thought, ‘Good lord, is that me playing?’ I hardly recognize the band, the style, or anything else. That sort of surprise is terrific.

B: Take me through some memories conjured up by the bonus material.

N: It conjures memories of touring in the early to mid 1970s, and putting on those shows. If you looked at the concerts now, you’d just think they were quaint—that’s the word for it. They are so small compared to not what we later did, but to what everyone does now. Virtually every artist today would expect to do quite a lot of staging and music production wherever they are playing. It’s that thing of remembering—the very early cherry pickers, for instance. Hydraulic towers with mounted lights. They are tiny now, but at the time, it was a really groundbreaking idea that you actually carried all of this stage lighting with you and made it part of the show.

B: Would you deem The Wall production “quaint” as well?

N: Quaint is the right word. The Wall came later, but if you look at, for instance, the Ummagumma sleeve: There is a picture of our touring crew and all of our equipment laid out. Well, most people have that in their back room now. It all fits into a small van. But at the time, it seemed like a gigantic amount of stuff. The Wall is interesting because the version that Roger is doing now is a fantastic leap—not so much musically because he’s adhered very rigorously to the original parts played on the record—in terms of the movie parts that have been added to the show. It’s fantastic, and absolutely 30 years further down the line.

B: Speaking of visuals, do you recall being associated with the visual content that’s now included on the box sets?

N: The visuals divide into different periods. There are three major periods: The stuff we originally did for Dark Side of the Moon, which was done by various people. There was an animator named Ian Eames who did a particular series of clocks that have stood the test of time. And then there was a second wave of film done by Hungarian film director Peter Medak. And then, finally, the Gerald Scarfe film that was done for Wish You Were Here. The interesting thing with his stuff is that some of it moved on; it was the forerunner of what got used in The Wall. I’m so used to computer animation now. The actual technology is quite clunky, but the visuals are stunning.

B: To what extent was the band involved in the visual design of the album artwork?

N: There’s no easy answer to that. Not unlike the way the music was put together, it was very different from image to image. The most famous one, the prism, by Storm [Thorgerson], arrived at the studio as five different rough ideas. Within an instant, all of us agreed that the prism was absolutely the right thing, and to go with Storm’s idea. We just rubber-stamped it immediately. There are other visuals where we went backwards and forwards, and in a few cases, there were ideas that initially came from the band and then, Storm developed them. Generally those ideas were less successful—I think Storm would back me up on that. [Laughs]

B: What’s your take on the reissue redesigns?

N: Terrific, because I’m of an age where I really do see physical records disappearing and regret that [trend]—and regret all of the artwork that goes with them. This is maybe not the very last chance, but very late on for Storm to really have another look at things, decide which is best, and add some new bits and pieces. For me, that’s one of the great attractions of the reissue project. We can make sure that every piece of visual art we’ve done, plus a bit more, is made available and there for the record, so to speak.

B: How long has the reissue project been in progress?

N: It’s been in the works for a couple of years. Of course, what happened is that the idea was mentioned two years ago and a lot of the push came from the record company, EMI, which said, ‘You know, you really ought to do this.’ We were initially very lukewarm. We felt that we’d done virtually every version of the catalog that we possibly could. But as the first year went by, we started unearthing more product that could go into it. And then we found ourselves becoming interested in it. It began to make more and more sense. For me, it was the realization that I actually [explore] with other artists. Like with jazz albums; I’ll go out and buy an eight-album John Coltrane box set, which is full of outtakes. And you think, well, ‘Who is interested?’ Well, I am. So if I’m interested in it with an artist, it makes sense to let our fans have access to such material.

B: Is the rare footage coming from personal or record label archives?

N: Most of it has come from EMI’s archives rather than our own. The only things that I’ve turned out have been some very early demos that we made before we were even signed, which contains some very nice Syd Barrett songs. But for the most part, it’s been EMI. The company has very extensive vaults and pretty good cataloging. But what happened this time is that there was a much more concerted effort to look through the archives. The trouble is that, like most archives, there are always a few things that have been miscataloged or haven’t been properly checked. This time, quite a lot of stuff was brought up from the vaults, listened to, and checked. That is how, for instance, the Grappelli version of “Wish You Were Here” got discovered.

B: The multichannel options seemingly parallel the unreleased material in that they represent new horizons for the listener. Do you think surround makes for a better experience?

N: I’m fond of the 5.1 and so on. I think it gives an extra depth to the music. But we’re all coming to terms with the fact that the embracing of the digital revolution wasn’t entirely satisfactory. It’s really interesting how many people are talking about going back to vinyl. You know, when I say ‘a lot of people,’ I mean a tiny percentage. I don’t think it’s really going to catch on. But there is still enormous enthusiasm for that warm, particularly odd sound you get from vinyl. And it’s not the cleanest, most accurate sound. But it does have this quality that people really like. To some extent, it will be really interesting to see the feedback. I’m not sure in this day and age how many people still have stereo sets capable of giving them the full effect. I was just talking with some people at breakfast this morning about the technical side of the reissues, and I said, ‘Maybe we should put a sort of health warning and say it is not advised to buy this record unless you have speakers that require at least two men to carry them into the room.’ [Laughs]

B: Regarding sonics, were you conscious when you were recording albums—especially Dark Side of the Moon, Wish You Were Here, and The Wall—that they would be, more than 30 years on, be used as references by producers, engineers, and audiophiles?

N: No. It’s astonishing in some ways. I think anyone who went into rock and roll in the 60s or early 70s entered into it with the belief that it was rock and roll and it was ephemeral and that it would be all over. Anything that you produced would last around a year, and in your working life, you’d be lucky to get five years. Of course, it changed. It became a completely different thing. The point I would like to get across is that if the quality of some of this stuff is so good—and I believe it is—it’s a testament to Abbey Road and the people that worked there and the systems they had in place in the 60s, where the kids joined as apprentices and really learned the trade of making records and miking things up and going for the highest standards of loading the tape.

B: It’s shocking to hear you admit that, even in the wake of The Piper at the Gates of Dawn, Pink Floyd believed it would disappear without a trace within a few years.

N: [Laughs] We’re all very privileged and lucky to have had a 40-odd-year career out of it. Obviously, after the first 10 or 15 years, you realize it’s not likely going to go away. But initially, in the late 60s, when we kicked off and had no idea where this would lead or end up, it’s what we thought.

In an audiophile world where individual components have five (and sometimes six) figure price tags, the concept of being able to get a preamplifier and a pair of 200-watt mono amplifiers that use discrete circuitry instead of just being Class-D for under $1,200 is refreshing. You may have guessed that such components are manufactured offshore and sold direct to you from the manufacturer; both methods are necessary to keep costs down to this level. However, due to the high praise that greets Emotiva products, it appears that the company makes quality control a main priority.

The USP-1 preamplifier fetches $499 while the 200-watt-per-channel UPA-1 monoblocks cost $349 each. Popping the top on both components reveals beefy power transformers, large capacitor banks, and tidy construction throughout. No massive film capacitors, fancy wire, or mega-expensive binding posts—simply well thought-out components that are consistent with their design goals.

Both pieces also sport no-nonsense features. Each has more than adequate inputs and outputs, along with 5-12v. trigger inputs for remote access, etc. The power amplifiers have two sets of reasonable binding posts while the preamplifier boasts a decent headphone amplifier, internal LF crossover for use with a powered subwoofer of your choice, and a phonostage capable of MM and MC operation.

Subwoofer and HT-Ready

The UPA-1s had more than enough power to drive any of the speakers at my disposal, and the USP-1 preamplifier comes with an adjustable low-pass and high-pass filter for those using smaller satellite speakers that have limited LF capability. This can also prove handy for listeners wanting to use a powered subwoofer with a lower-power tube amplifier with their main speakers. I followed that very scenario with the CJ MV-50C1, which I used to power Polk Audio TL-3s and Paradigm Millennia One speakers (both currently in for review). Rolling off the output at 100Hz and passing that to the CJ relieved the tube amplifier of heavy lifting. I passed the LF information to a MartinLogan Grotto i subwoofer, making for an incredible sub/sat system.

I came away highly impressed at the preamplifier’s versatility. In addition, the USP-1 also offers a pair of bypass outputs for use in a multichannel home theater system. So, if you don’t currently operate in the multichannel realm, you won’t have to eliminate the USP-1 to integrate your two-channel system should you expand at a future date.

Easy Listening

Talk about a quick and easy setup. Using AudioQuest Columbia interconnects, Rocket speaker cable, and a set of Shunyata Venom 3 power cords, I was rolling in about 15 minutes. The rear panels of all three components are well labeled, so you should have no trouble hooking everything up sans the assistance of the well-written manual.

While the out-of-the-box sound was good, the system sounded smoother after being powered up for 24 hours. Once power cycled for 48 hours, the UPA-1 required about an hour for the sound to fully stabilize. As it was barely warm to the touch, I kept the trio powered up at all times to net the best sound. Those feeling slightly more environmentally conscious may want to consider leaving the amplifiers off between listening sessions. The preamplifier only requires 30 watts, so it’s worth leaving on.

Aces the Fundamentals

To stack the deck against the Emotiva combination, I began my listening sessions with the B&W 805Ds. These moderately efficient 2-way speakers are heavenly but highly resolving. The diamond tweeter reveals any inadequacies in equipment that drives them. The 805Ds made such a great match with the Emotiva components that, after experimenting with a few other speaker systems, I kept them in the system for the duration of the review. The UPA-1 amplifiers drove all of the other speakers we hand on hand for our budget gear issue (Issue 38), including the power-hungry Magnepan MMGs.

While not the equal of my reference Burmester 911 mk. 3 monoblocks, the UPA-1s did a respectable job driving the $150,000 GamuT S9s—very impressive for a $700 pair of amplifiers. Playing “Baltasaurus” from D.F.A.’s 4^th at a fairly high level, as well as “Euthanasia Waltz” from Brand X’s Livestock, I was instantly struck by the Emotiva’s ability to keep the pace intact while playing complex musical passages at moderately high listening levels. When pushed too hard, the UPA-1’s quickly soundstage collapsed. Still, the volume was quite high, and the GamuTs only have 88db sensitivity. With more efficient speakers, you should be able to rock out to your heart’s content before running out of amplifier power. Those needing brain damage levels would be wise to consider Emotiva’s 500-watt monoblocks.

Taking a Spin

The USP-1 offers an onboard MM and MC phonostage, which is somewhat unbelievable given its price. Remember, these days, $500 will get you a mid-grade power cord at many other places. Doing some quick comparisons with the Rega RP1 turntable and its associated performance pack upgrade yielded great synergy. And as switching to my Cambridge 640P and NAD PP3i revealed, the USP-1’s onboard stage is easily the equivalent (and perhaps slightly more resolving) of these $200 standalone counterparts.

While most vinyl enthusiasts will probably opt for a MM cartridge that stays within the parameters of a budget system, the USP-1’s MC performance ranks above average. The somewhat low output (.25mv) Denon DL-103R proved an excellent match.  There is only one loading option (240 ohms) and gain is fixed (no level specified), but it should work just fine for most available entry-level MC cartridges. Both inputs offered a quiet background and enough dimension that one could still hear a meaningful difference between analog and digital with comparably priced source components.

More Comparisons

My experience with acoustic and vocal music found it fairly well reproduced, yet these are areas where big-bucks gear leaves budget stuff in the dust. Listening to TONEAudio cover girl Keren Ann’s latest record, 101, it became obvious that there were textures and that prized third dimension that the Emotiva gear couldn’t bring to the table. These shortcomings were the combination’s only real limitations and, again, at this price level, tradeoffs are a reality. A PrimaLuna ProLogue integrated will give you more midrange depth and texture, and the Rega Brio-R possesses more resolution, but these amplifiers are 40 and 50 watts per channel, respectively. Obviously, 200-watts-per-channel allows for a much wider range of speaker choices.

Even when using the Klipsch Heresy IIIs, the difference in sound quality between the Emotiva triplets and Simaudio Moon 600i (reviewed last issue) wasn’t subtle; the Moon gear claimed a clarity that the budget separates could not match. But a quick comparison to a $1,200 Yamaha integrated amplifier purchased from Best Buy proved the opposite. The Emotiva gear won out on all levels, providing a much more lifelike perspective of the music than the comparably priced mass-market box.

The UPA-1s always mustered a lot of grunt on the low end as well. The amplifiers admirably captured the weight and texture of the bass lines in “Dragonaut” from Sleep’s Holy Mountain, as well as some of my favorite Snoop Dogg tracks, controlling the woofers in whatever speakers I employed. Such music really demands extra amplifier power, and the UPA-1s did not disappoint.

Musically Engaging

After putting the Emotiva USP-1 and UPA-1 through rigorous listening sessions, I have to admit that the set comprises some of the most musically engaging amplification I’ve heard for around a thousand dollars. And if you aren’t as impressed with it as me, Emotiva offers a 30-day return policy. It’s impossible to go wrong.

Okay, you’ll either love or hate the blue glow, but beyond that, there’s nothing to complain about. This gear offers up neutral tonality, great dynamic range, plenty of power, and an abundance of truly useful features. If I were starting again from the beginning, the USP-1 and UPA-1 would serve as my system’s core. Add your favorite $500-$1,500 pair of speakers, a $500 turntable, a DAC, and you’ve got a system that rocks for a few thousand bucks. (I’m really looking forward to listening to Emotiva’s flagship monoblocks; if the company can turn out a product of this caliber for $350, what they can do for $1,000?)

I can’t stress it enough: This combination does not make a single misstep. Sound quality is excellent, and the pricing is amazing. Ten years ago, Chinese-made audio carried a stigma of poor build quality, shoddy finish, and subpar sound. About eight years ago, PrimaLuna came on the scene and set the gold standard for Chinese manufacturing with its line of vacuum-tube amplifiers. After listening to these components, it’s safe to say that Emotiva is well on the way to doing the same with solid-state electronics.

No, $1,200 won’t get you a $60,000 Burmester amplifier and preamplifier. But what you do get is solid build quality and great sound. Just as I was ready to award the USP-1/UPA-1 combo one of TONEAudio’s Exceptional Value Awards for 2011, a glance at the company’s Web site yielded yet another pleasant surprise in the form of a temporary price drop: The USP-1 currently sells for $399 and the UPA-1 monoblocks for $299. Factor free shipping into the equation, and there’s not a better entry point into high-end audio.

Emotiva USP-1 Preamplifier and UPA-1 Amplifiers

MSRP:  USP-1, $499 (currently $399); UPA-1, $349 each (currently $299)

Manufacturer:  www.emotiva.com

Peripherals

Analog Source            Dual 1219 w/Grado Red cartridge, Rega P3-24 w/Denon DL-103 cartridge

Digital Source                        BelCanto CD2

Speakers            Klipsch Heresy III, Magnepan MMG, Magnepan 1.6, MartinLogan ElectroMotion, B&W 805D, GamuT S9

Cable            AudioQuest Columbia I/Cs, AudioQuest Rocket Speaker Cables, Shunyata Venom 3 power cords

Accessories                        Running Springs Elgar Power Line Conditioner

Yeah, yeah, we are pretty much the last ones to the party to discover the Spin Clean Record cleaner.  But in case you haven’t heard of this incredibly reasonably priced record cleaning system that’s been around since 1975 and still made in the USA, it’s definitely worth your time.  Dirt is the enemy of your records, it’s pretty much the enemy of the whole vinyl playback chain – it’s what makes for most of those nasty clicks and pops that the mainstream likes to tell us is “the romance of vinyl.”

Forget that.  If you want to truly get the analog experience, you need clean records. Chances are if you’ve been into vinyl for any length of time, you’re buying at least some of your records used and if you’re a newcomer to the vinyl scene, you’re finding records in any number of off the beaten path places – and chances they sound pretty awful.  Perhaps your audiophile buddies have told you about their elaborate record cleaning machines that can get your records CD clean, free of those dreaded pops, but you freaked out when you heard the price.  A decent RCM can run anywhere from $500 – $5,000.

A Record Cleaner for the Regular Guy

Enter the Spin Clean II.  The complete kit, with enough cleaning solution to clean hundreds of records costs $129. It’s not as technically complex as a VPI, ClearAudio or Loricraft machine, but it’s damn good and it actually does a better job at ground in fingerprints than my Loricraft does.  The Spin Clean II is the ultimate in simplicity; there is no electric motor to burn out and no vacuum hoses to loosen.  Just mix up some cleaning solution, dump it in the tank and you are ready to begin. Once the Spin Clean solution is mixed, a tank full will clean 20-50 records, depending on how dirty they happen to be.  Fluid is cheap in comparison to styli, so I say err on the side of cleanliness and stick to the 10-20 figure. A bottle of their concentrate is only $9.99! The manual suggests batch cleaning, as the mixed fluid only has a shelf life of about a week.

The best feature of the Spin Clean is that it cleans both sides of your record at the same time. Simply spin the record gently by its edge (hence the name) until you’ve made a few revolutions.  The brushes are bathed in the solution, so the dirt will be suspended when you remove the record.  Easy!  The Spin Clean kit includes some soft, diaper like cloths that are intended to blot your records dry after they’ve been cleaned, but I highly suggest a plastic dish rack from Target (another $8 expense) to use for letting your records air dry all the way, before you can play them.  This should hold about 10 records comfortably.

Say Hello to Quiet

If you’ve never used a record cleaning machine, you’ll be amazed at how much quieter your records sound after a pass through the Spin Clean. Like any other aspect of audiophilia, you can get as obsessed as you’d like to with record cleaning, but if you never do more than use a Spin Clean, you’re way ahead of the game.  As I mentioned, the Spin Clean does an exceptional job at removing deep seated fingerprints. I found that letting the area of the record with the fingerprint just soak for 3-10 minutes in the solution, giving it a quick spin and then moving on to final clean on my Loricraft brought most albums back to like new condition.

Even if you have a high zoot RCM, the Spin Clean can be a valuable addition to your cleaning regimen when sorting out used records, because it works so much faster.  You can at least perform an initial clean in a very short period of time to be assured that your stylus won’t snag on an LP from the bargain bin and then decide how much further to pursue cleaning later.

If you have a turntable and you don’t have a Spin Clean, you need one. If you’re a maniacal LP collector with a top of the line RCM and you don’t have a Spin Clean, you need one too.  This is an accessory that no vinyl lover should be without.

You can buy one from our friends at Music Direct here.

For those that attended T.H.E. Show’s Newport Beach event at the Orange County Hilton this past weekend, you know they are off to a great start. With attendance reaching over 5000, this was highly impressive for the first year. It’s important to give credit where credit is due and the Los Angeles Audio Society did a great job (albeit somewhat pushy nearer opening day) of promoting the event as did Richard Beers, the show’s producer – with ads in most of the major hifi magazines well in advance.

The show featured an excellent mix of gear from all price ranges and the majority of the rooms had good sound. A few brought speakers that were somewhat large for their rooms, but that is often the norm, wherever a hifi show is held, so no penalty points here. As an attempt to reach out to associated luxury pursuits, there were wine and cigar vendors as well as a car show out back. Unfortunately, the car show was relatively uneventful (this is Southern California) and for most of the show, the excitement was in the parking lot, with numerous Ferraris, Porsches and a few Lamborghinis to peruse on your way in.

If you are looking for room by room, rack by rack coverage, I suggest blasting over to Stereophile’s website. Michael Lavorgna worked around the clock to provide what I feel is some of the best show coverage I’ve read in years; insightful and to the point, yet giving you ample feel for the vibe. I know if I hadn’t attended, this report would have made me want to make the pilgrimage next year.

The high point of this show for me was the diversity of music being played. For a change it wasn’t all female vocal dreck. As always, the guys in the Zu Audio room were doing a killer job, spinning plenty of records with a pair of their latest modded SL-1200’s featuring Rega tonearms, and of course, Zus Denon cartridges. Played through an Audion 300B amplifier and a pair of their Soul Superfly speakers, these guys really had it going on. And in the picture you see above, they were joined by no less than Bes Nievera from Music Direct, playing DJ. Always nice to see both sides of the industry playing well together!

But the room that gave me goosebumps was the Meridian room on the main floor featuring their 810 Video Projector. If you haven’t seen the 810 in action, it’s staggering. Imagine having an IMAX theater in your home. Yeah, it’s that good. For upwards of $200k for the system, you probably could spend the summer in style at Cannes next year, but you’d still have to go home to your boring 50-inch television. Once you’ve experienced the 810, your life will never be the same, it is by far the best video presentation I’ve ever had the pleasure of experiencing.

Though this event didn’t quite hit the promised mark of being “The Best HiFi Show in The World,” it’s certainly an outstanding first effort. Here’s to their continued growth and success.

If you happen to be a music lover who adores electrostatic speakers, you no doubt have your favorites. And if MartinLogan is on your radar, its Aerius is definitely at the top of your list. Considering what an amazing value the Aerius offered back in 1992 for about $2000, the fact that MartinLogan has hit nearly the same price with its ElectroMotion is nothing less than a major miracle in 2011.

When discussions about the ElectroMotion ESL began last fall, MartinLogan’s product manager Devin Zell couldn’t have been more enthusiastic. When he started telling me about the driver complement and fact that the company was trying to bring the speaker to market close to $2,000, I immediately thought of the Aerius. Zell, pleased that I picked up on the strategy, commented, “Exactly. We’ve had a number of product focus meetings and we’ve never quite been able to create a speaker like the Aerius for $2,000. Until now.” They came damn close – the EM-ESLs retail for $2,195

Of course that’s what marketing guys are supposed to say, but Zell put his money where his mouth is. “To prove just how amazing these speakers are, I’m going to send you a pair of Aerius i’s so you can compare them side by side.” Nothing like a man who walks it like he talks it.

Speaker Basics

The $2,195 ElectroMotion utilizes an 8-inch unamplified woofer and an ESL panel that uses the same “XStat MicroPerf” technology that is featured in MartinLogan’s top-of-the-line speakers. Thanks to such a design, the EM-ESL has about 40% more panel area than the Aerius, yet has a smaller footprint. The crossover uses ML’s latest technology, all trickled down from its flagship CLX speakers and a downward firing port.

The EM-ESL has a rated sensitivity of 91db and nominal impedance of 6 ohms, which dips to 1.6 ohms at 20khz, making the EM-ESL fairly tube-amplifier friendly. Switching from the Aerius i to the EM-ESL speakers with the PrimaLuna Dialog 4 power amplifier (EL34 output tubes, 40wpc), there wasn’t much perceived increase in output level even though the EM-ESL’s are allegedly 3db more sensitive. The additional bass control and HF extension became immediately apparent. Swapping back and forth between the two revealed the Aerius i to have a warmer, darker (richer to some) sound.

Save for binding posts, build quality is top-notch and worthy of a decent set of speaker cables. But those posts. Sourced from MartinLogan’s Motion 4 speakers, the only option is bare wire and banana plugs. Sure, MartinLogan had to sharpen the pencil to hit its price target, but most would happily pay an extra $100 to get proper binding posts.

Setup

Thanks to their smaller size and lighter weight (I’ve been using MartinLogan’s CLXs for some time, and they are much larger) the EM-ESL is easy to set up and can be easily accomplished with one person. They work well in a small-to-medium- sized room, but did an amazingly good job filling up my main 16 x 24 feet listening room. As with any panel speaker, the further you can keep them away from the sidewalls, the better, as doing so results in a wider stereo image. Fortunately, the EM-ESL’s small footprint allowed them to seamlessly integrate into my room better than any other panels I’ve tried since the MartinLogan Vantage.

Final placement ended up being about seven feet apart, slightly toed in with the ESL panels about 50 inches from the rear wall. While I spent a fair amount of time listening through PrimaLuna, CJ, and Octave power amplifiers I had on hand, the speakers’ limits were explored via the Burmester 011 preamplifier/911 mk. 3 power amplifier—the same combination through which I’ve auditioned MartinLogan’s CLX, Summit, and Summit X for nearly a year.

No, the average EM-ESL owner isn’t going to hook them up to a $60k power amplifier/preamplifier setup. But rest assured that these speakers weren’t embarrassed in the company of the Burmester gear, and yielded stellar performance. Finally, the EM-ESL’s spent the bulk of the review paired with Simaudio’s new 600i integrated amplifier. Yes, the tubes were great fun, and while the romance of the vacuum tubes appeal to some, a high-current solid-state amplifier coaxes maximum performance.

Comparing Old and New

I began comparison between the Aerius i and EM-ESL by playing “The Breeze,” from Lynyrd Skynyrd’s Second Helping. Hardcore audiophiles might scoff, yet Skynyrd albums actually reveal tons of information due to the band’s triple lead-guitar format. Not only did they impress with excellent imaging of each of the three guitarists, the speakers also dynamically portrayed the grungy guitar intro to “Sugar Buzz” off kd lang’s new Sing it Loud. While a fairly dense recording, the ElectroMotions had no difficulty keeping Lang front and center without ever losing the bite of the instruments.

Switching between the Aerius i’s and EM-ESL’s repeatedly revealed the latter’s tremendous refinement. Regardless of musical choice, the current model possessed an increased level of resolution that its predecessor couldn’t touch. When listening to primarily acoustic fare, the EM-ESL’s presented instruments with a more lifelike timbre and provided extra low-level detail. Craving exquisite? Experience the cymbal decay on the title track of Kenny Burrell’s Midnight Blue via these cost-defying loudspeakers. I constantly had the illusion that I was listening to significantly more expensive speakers.

What’s more, the EM-ESL really pulls ahead of its predecessor when playing rock. Where the Aerius always struggled, running out of dynamic punch at higher levels, the MicroPerf panel in the ElectroMotion plays much louder without hitting its limit. I first noticed this ability in MartinLogan’s Summit (the original as well as the Summit X); I could actually play Metallica at a level loud enough to qualify as immersive. While the EM-ESL can’t play as loud as the Summit, all but the most crazed metalheads should find satisfaction. I was never disappointed when going through a fair share of classic Led Zeppelin or prog-minded Tool.

ESLs aren’t famous for having a huge sweet spot, yet that of the EM-ESL is on par with ML’s much more expensive Vantage. Amazing. The other surprise? Bass performance. The EM-ESL’s go down solidly to the mid-40hz range and still have useable output below 40hz, although, it should noted, they are rolling off at this point.

Exceeds Expectations

The Aerius was an amazing speaker in its day and still holds up well, but the MartinLogan team has learned a lot in the last 15 years. I’m still stunned that a company can manufacture a speaker this good for $1,995 in 2011. Granted, an ESL is slightly more finicky than your average pair of cone speakers, but if there’s a more exciting loudspeaker out there at this price, I certainly haven’t heard it. While the year isn’t yet half over, the EM-ESL’s are on our short list for a Product of the Year award.

MartinLogan EM-ESL Speakers

MSRP: $2,195

Manufacturer Info: www.martinlogan.com

Peripherals

Amplifier Simaudio 600i

Digital Source Simaudio 750D

Analog Source Rega P9 w/RB1000 arm and Denon DL-103 cartridge, Parasound JC- phono preamp

Cable ED 411 ICs and 432 speaker cable

Power Running Springs Elgar

Features

TONE covers the Roadburn Festival
By Louise Brown

Budget Gear: The NAD PP 3i Phono Preamp
By Jeff Dorgay

Journeyman Audiophile: Clean Power For The Regular Guy
By Jerold o’Brien

Old School: The MartinLogan Aerius i Speakers
By Jerold O’Brien

Tone Style

T.H.E. Show Preview – Where to eat and Drink in Newport Beach
By Scott Tetzlaff

Apples iPad 2: Not so Much

The Rolling Stones Complete Singles Box Set

Quadraspire LP Qube Storage

Sassicaia Session by Ken Kessler

Music

Live Music: Bob Gendron covers Neil Young and Femi Kuti

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

Audiophile Pressings
By Paul Rigby

Jazz and Blues
Three new releases
By Jim Macnie

Previews

Gemme Tonic 5 Loudspeakers

Lyra Kleos Phono Cartridge

Burmester 089 CD Player

Reviews

Headphone Planet: Marshall and WESC
By Kevin Gallucci

The ARC PH6 Phono Preamplifier
By Jeff Dorgay

Red Wine Audio’s Ginevra LFP-V Phono Preamplifier and Factory Visit
By Steve Guttenberg

Octave MRE 130 Monoblocks and Super Black Box
By Jeff Dorgay

Silent Running Audio Ohio Class XL+ Equipment Platforms
By Jeff Dorgay

Comparison Test: The Simaudio Moon 600i and 700i Integrated Amplifiers
By Jeff Dorgay

SLUMMIN’
Classics on the cheap

Too bad the folks at Rega aren’t in charge of balancing the trade deficit. While a substantial amount of modestly priced hi-fi is now produced in China, Rega continues to make solid designs built by hand by skilled craftspeople in its UK factory. That the company produces a 50wpc integrated amplifier with an excellent phonostage is quite admirable; that the firm does it at this level without going to the Far East is nothing less than incredible. Rega’s main man, Roy Gandy, is fond of saying that Rega likes to build products that offer top performance in their respective class. But this time, Rega hit the ball way out of the park.

Longtime Rega enthusiasts might be surprised that the price of the Brio-R is $300 more than that of the previous model, which has been around for about 12 years. However, the new version offers substantial gains even as it occupies a much smaller footprint. Think of the $895 Rega Brio-R as the Lotus Elise of integrated amplifiers; it’s not quite what you’d expect until you get behind the wheel. And yes, the “R” stands for remote.

Make sure to use both hands when unpacking the Brio-R. The compact box is fairly heavy, weighing in at about 20 pounds. Peaking inside shows that Rega didn’t allow a square millimeter of space to go to waste. The Brio-R features the same enclosure as the Rega DAC we reviewed earlier this year, the shared approach keeping costs low and quality high. No detail is left to chance; the remote-control circuitry is even given its own separate power supply to ensure signal purity. Poking around inside reveals one pair of output transistors per channel, high-quality film caps, and a very short signal path.

Small Yet Strong

Despite its smaller box, the new Brio packs a bigger wallop than its predecessor. And there’s never been a more perfect example of specs not telling the whole story. While the previous Brio 3 is rated at 49 watts per channel and the new model at only 50 watts per channel (73 watts per channel into 4 ohms), Rega claims the new output stage can reasonably drive outputs “as low as 1.7 ohms.”

Indeed, while the last Brio struggled with low-impedance speakers, the Brio-R effortlessly sailed through. Driving a pair of Magnepans usually translates into the kiss of death for most small integrated amplifiers (and a few larger ones, as well), but the Brio-R did a very respectable job of powering the notoriously power-hungry MMGs reviewed in this issue. It’s also worth noting that my Cambridge Audio 740C (rated at 100 watts per channel) was not up to this task. Moreover, the Rega had no problems driving my vintage MartinLogan Aerius. A reasonably priced integrated that can tackle Magnepans and MartinLogans without problem? High marks are in order.

Like the prior Brio, the Brio-R features an onboard MM phonostage, also improved in sound quality and sensitivity. In the past, users that didn’t utilize a Rega phono cartridge complained about a lack of gain in the phonostage, an issue that required serious twisting the volume control to achieve reasonable listening levels. With a sensitivity of 2.1mv, the Brio-R had no troubles reaching full volume at the 12:00 level when outfitted with a Sumiko Blackbird cartridge, which boasts an output of 2.5mv. Thanks to its quietness, I was even able to use a Grado Master1, which has an output of only .5mv (47k loading). Doing so necessitated setting the volume at almost 2:00 for the maximum level, but the Brio-R remained up to the task.

Setup and Controls

The Brio-R will have you listening to music in a jiff. The spartan front panel shares the same design brief as the Rega DAC, with a power button on the left, volume control on the right, and a button that requires a touch to toggle between inputs. The mute control is only accessed via the remote, which also allows for volume level and input switching.  And the Brio-R can only be turned on and off from the front panel.

Around back, five inputs and a fixed level output made for an excellent match with my recently restored Nakamichi 550 cassette deck, which incidentally is almost the same size as the Brio-R. For the tapeheads, the output has a level of 210mv.

The only caveat? Input one is the phono input and not marked as such. Plugging in a line-level source here will cause a hateful noise at best and blown tweeter at worst, so proceed with caution. If you’re not a vinyl enthusiast, get a pair of Cardas RCA caps, if for no other reason than to prevent a mishap. Rega turntables do not have ground wires. But if you’re using a ‘table that has one, the ground screw is underneath the amplifier’s rear face.

The Brio-R uses a standard IEC AC socket, so those that enjoy swapping power cords can geek out all they want. However, the RCA jacks and speaker binding posts are so close together that some cables will not be compatible. And while the average consumer that purchases a Brio-R may not step too far into the world of premium cables, the amplifier is good enough to warrant doing so. Given the restricted space, speaker cables with spades are almost out of the question; grab bananas or banana adaptors.

Sounds Like Separates

Resolution often sets separate components apart from integrated amplifiers. The Brio-R has an overall clarity that I have never experienced at this price—and I’ve heard my share of much more expensive pieces that struggle to sound this good. After all, only a handful of sub-$3k amplifiers provide true high-end sound; the Brio-R belongs at the top of that short list. It truly sounds like separate components.

At the beginning of John Mellencamp’s “Sweet Evening Breeze” from Human Wheels, a Hammond organ faintly enters from the far back of the soundstage, barely registering a whisper. Other inexpensive integrateds I’ve sampled (except for the PrimaLuna ProLogue1) don’t resolve this. Or, what does come through is flat and on the same plane as the rest of the music—a blurry rendition. Oingo Boingo’s “Nothing Bad Ever Happens” from Good For Your Soul has similar textures, with multiple layers of guitars and keyboards that, via substandard gear, blend together and smear. By yielding genuine dimensionality, the Brio-R is a budget component that you can listen to for hours on end, fully engaged in the presentation.

The amp claims a fair share of headroom as well. Whether listening to KISS, with or without a symphony orchestra, the Rega didn’t run out of steam until played at very high volumes. Switching to the 99db sensitivity Klipsch Heresy IIIs (also reviewed this issue) resulted in a completely different situation. This combination achieved near rave-level SPLs with Nine Inch Nails’ The Downward Spiral. The opening drumbeats to “Big Man With a Gun” were big and powerful, yet the little Rega didn’t seem to break a sweat.

Your favorite speaker with a sensitivity rating of between 87–91db should prove a more than acceptable match for the Brio-R’s power amplifier section.

Vinyl Adventure

The phonostage in the Brio-R should prove a perfect match for anything in the $100-$600 range and when used with the Rega RP1 and its Performance Pack, an upgrade that includes the Bias 2 MM cartridge. The latter features a tonal balance slightly tipped toward the warm side of neutral, helping less-than-stellar LP pressings sound their best.

For example, a friend that brought over budget treasures purchased for fewer than $3/each couldn’t believe the performance wrought by the RP1/Brio-R combination. Again, the Brio-R’s phonostage offers excellent resolution and a very smooth upper register. And while the RP1/Bias combination turned in a great show, switching to the P3-24 and Blackbird offered a substantial helping of “what the analog fuss is all about.”

Good Things Do Come in Small Packages

The Rega Brio-R sets the benchmark for an $1000 integrated amplifier and then some.  While it’s easy for those that regularly hear the world’s best (and often most expensive) gear to get excited about great sound, it’s truly thrilling to hear this level of sound quality from an amplifier with an $895 price tag. Music lovers on a budget no longer have to sacrifice quality. This one could make a crazed audiophile out of you where you least expect it.

-Jeff Dorgay

The Rega Brio-R

MSRP:  $895
Manufacturer Information:

www.soundorg.com (US)

www.rega.co.uk (UK)

Peripherals

Digital source                        Simaudio 750D, Cambridge 650BD

Analog source                        Rega RP1 w/Bias 2, Rega P3-24 w/Sumiko Blackbird

Speakers            Magnepan MMG, Klipsch Heresy III, Vienna Acoustics Hayden Grand, Spica TC 50

Cable                                    Audioquest  Columbia

Power                                    IsoTek EVO3 Sirius

Last night in Portland you could have spent $30 on going to see Pirates of the Caribbean.  But for the price of a movie ticket, 16oz. Diet Coke and some some soggy popcorn you could have gone to the Wonder Ballroom and experienced The Twilight Singers and a beer.  Watch for our editor Bob Gendron’s coverage of the band’s performance in Chicago in our next issue, but suffice to say if you’re of the mindset that “there’s no good music anymore,” you’re just plain wrong.

In the beginning, the Sooloos featured a Control (which held the system core and the touchscreen), giving you access to the Source (which provided analog and digital outputs in either one or five zones) and the Stores (the physical location of all of your music files), all connected via Ethernet to link the system together. But computer years are like dog years; things move quickly.

After Meridian purchased Sooloos, the next-generation hardware introduced the Control 10, which incorporated the Source and Control into the same box and added the option of Meridian’s Speaker Link system. All of which meant that the Sooloos could be used directly with a pair of powered Meridian speakers to make for a complete system.

These changes represented a quantum leap in Sooloos audio performance and build quality, but users requiring a number of zones had no choice but to purchase the somewhat expensive Control 10. No longer. The Media Source 600 includes this functionality, allowing for a pair of analog outputs (one balanced XLR and one balanced RCA), an SPDIF digital output, and an RJ-45 Meridian SpeakerLink output essentially equating to the addition of three more zones to your Sooloos system. Each can be controlled by a Sooloos Control, iPhone/iPad, or via another computer that shares the same network as the Sooloos system.

I found this setup very handy, as it allowed me to move the Control 15 closer to my listening position and the Media Source 600 to my equipment rack. Now, the extra analog outputs drive System Two and the SpeakerLink outputs are available to drive the DSP3200 powered speakers. Indeed, any of Meridian’s powered speakers make for an ideal solution for someone who wants high-performance audio without all the boxes, cables, and associated components.

A Model of Simplicity

The Meridian Sooloos Music Server redefines the often-overused phrase “plug and play.” And after using practically everything else on the market, nothing else gets me to play quicker. While the manual speaks of advanced functions that can be accessed from a Web browser, I didn t bother investigating them. All I needed to do to integrate the Media Source 600 into my existing system was simply plug in an Ethernet cable from my router and power it up. Within about 2 minutes, the Control 15 recognized the additional zone.

In my main reference system, and for the bulk of my listening tests, I utilized the Media Source 600 in place of my Control 15 as the connection between my music library and dCS Paganini stack via the SPDIF output.

Of course, the only drawback to using an iPad/iPhone as a Sooloos controller is that Apple devices do not offer the same interface touted by the Control 10/15—specifically, the placement all of the album art at your disposal, thus allowing you to peruse your music collection much faster than doing so alphabetically.

To avoid any potential confusion, please note that the Media Source 600 does not have an internal hard drive and hence, does not have the “system core” that’s required from a standalone Sooloos device. A Media Core 200, Media Core 600, or Control 15 is needed on the network to drive the system. So think of the Media Source 600 as an “expansion port.”

Functionality and Sound

The Sooloos system accesses high-resolution audio files, so you can keep all of your music in one place. If you are like most Sooloos owners and possess a fairly large collection of standard 16bit/44.1khz CDs, you ll be happy to know that the Media Source 600 utilizes Meridian s current upsampling and apodising filter. CD files emerge from the SPDIF output upsampled to a 24bit/88.2khz bitstream, while high-resolution files pass through in their native formats.

Meridian founder Bob Stuart told me that the DAC and analog sections of the Media Source 600 are very close to what’s available in their current G08 CD player. Since there’s no digital input on the Media Source 600, the system reads all the audio data that goes to and from the Sooloos components via the Ethernet network. For home automation, there’s a remote 12v. trigger as well as the option to connect a Meridian IR receiver so that basic functions can be controlled with a standard Meridian remote.

Playback through the analog outputs was excellent, possessing all the refinement I expect from a $4,000-$6,000 player. Having spent a good deal of time with the 800 series players and the G08, I can authoritatively state that if there is one hallmark of Meridian players, it s tonal correctness. The company bridges the gap of providing a digital player with high resolution that does not cross the line and become overly analytical or digital sounding.

When listening to recent Audio Wave XRCD24 discs from Horace Silver and Donald Byrd, I was repeatedly impressed with the lack of grain present in the upper registers. Cymbals took on a three-dimensional shape and the soundstage was fleshed out, especially when the discs were compared to their analog counterparts from Music Matters. Most importantly, when contrasting the sound from the digital output of the Media Source 600 to that of the Control 15 (both fed through the four-box dCS Paganini stack), the Media Source 600 definitely came out on top.

A Winner Either Way

If you need to expand your current Sooloos system beyond one zone and do not require the six-zone support provided by the new Media Core 600, the Media Source 600 is a highly cost-effective solution. Or, if you are considering adding a Sooloos Control 15 to an audio system that doesn’t currently possess an excellent DAC (and you aren’t quite ready to step up to the $18k Meridian 808.3), again, here’s your answer.

Meridian continues to refine the Sooloos Music Server system by adding features, increasing flexibility, and most importantly, improving the sound quality with every new bit of hardware released. The Control 15 represented a definite step forward in resolution and lack of grain from the Control 10, and the Media Source 600 takes the whole presentation a step further. So even if you don’t yet require an extra zone yet, I highly suggest adding the Media Source 600 to your Sooloos system.

Meridian Media Source 600

MSRP: $3,500

Manufacturer Information: www.sooloosbymeridian.com

Peripherals

In keeping with the resurgence in vacuum tube electronics and their need for wider ranging representation in the US, Audion International Ltd., a British tube manufacturing company based in France has appointed Gary Alpern of True Audiophile to be their new distributor for North America.  Gary will be responsible for driving sales of Audion’s Amplifiers, Preamplifiers and cables within the US market.

We have some reviews in the works and will be visiting the Audion factory later this year with a full report.

You can reach Gary at:
www.trueaudiophile.com
310-998-1908

I went to the Innovative Audio Video showrooms recently in NYC to check out Dan D’Agostino’s new amplifier, The Momentum. The store was filled with customers and audio press. Dan is one of the founding fathers of American high-end audio, and started his first company, Krell Industries, in 1980 where he served as its chief engineer for 30 years, designing amplifiers, preamplifiers, CD players, surround-sound processors, subwoofers, and speakers.

The Momentum is a 300 watt monoblock power amplifier (you need two for stereo). The machined from solid aluminum billet and copper chassis is painted with high-gloss clear coat; it is one of the most beautiful components I’ve ever seen. How did it sound? Well, let me put it this way, it was so good it mesmerized a room full of audiophiles! During the 20 minute demo not one person talked, I don’t think I’ve ever witnessed that before. I heard a few Momentum demos that night with a range of Wilson Audio speakers: Sophia Series 3, Sasha W/P, and Alexandria Series 2. The sound was highly transparent and pure with all three speakers.

The Dan D’Agostino Momentum amplifier retails for $45,000 a pair; a matching preamplifier will soon be offered by the company.

-Steve Guttenberg

If you are in the San Francisco area, join us tomorrow, Thursday evening (April 28) at AudioVision San Francisco.

They will be hosting their 4th installment of their “Fiscally Sound Event,” which will be featuring two moderately priced systems with gear from Simaudio Moon, Triangle Loudspeakers and Nordost, to name a few.  The event takes place from 7:30 – 9:30 and refreshments will be served.  Of course, they’ve got a few surprise goodies to hand out and manufacturers reps will be on hand to answer your questions.  I’ll be there to chat with the crowd and talk to you about all things audio too, so if you’re nearby, stop on in!

Features

Henry Rollins Speaks: You Should Listen
By Andy Downing

Live Divinations: A Conversation With Mastodon Drummer Brian Dailor

By Bob Gendron

An Interview With Roadburn Festival’s Walter Hoeijmaker
By Bob Gendron

Budget Gear: The Denon DL-103R Cartridge
By Jeff Dorgay

Journeyman Audiophile: Ortofon’s MC 20 Super –  The Return of a Classic
By Jerold o’Brien

Old School:  The Denon DP-62L Turntable
By Jerold O’Brien

Tone Style

Specimen Audio Horn Speakers
By Bob Gendron

Skooba Design iPad Messenger Bag

Playbutton

McIntosh EP1 Music Player

Bracketron Twist 360

Breitling For Bentley

The Beer Snob: Three Chicago Brewers You Should Know About
By Bob Gendron

Music

Live Music: Drive-By Truckers and DEVO, with a Snapshot of Warpaint

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

Audiophile Pressings
By Lawrence Devoe

Jazz and Blues
Three new releases
By Jim Macnie

Previews

Naim DAC

Parasound JC3 Phonostage

MartinLogan ElectroMotion Speakers

Reviews

The AVID Acutus Reference SP Turntable
By Jeff Dorgay

The Kiseki Blue NOS Cartridge
By Ken Kessler

The Luxman SQ-38u Integrated Amplifier
By Steve Guttenberg

CJ’s ET3SE: Baby GAT
By Jeff Dorgay

The SoundSmith Sussurro Paua
By Jeff Dorgay

The Ypsilon VPS 100 Phono Preamplifier
By Jacob Heilbrunn

Octave Phono Module
By Jeff Dorgay

SLUMMIN’
Classics on the cheap

If you’re as sick as I am of the earbuds that were packaged with your iPod but don’t really want to become a full fledged headphone addict, here’s a great pair of phones that will server you well – The Image ONE by Klipsch.  Yeah, the speaker company.  After a quick listen at this years Consumer Electronics Show, I wouldn’t let the Image ONE’s go – I forced them to let me take em home!  Here was a reasonably priced pair of headphones ($149.95) that felt as if they should have been much more expensive, yet were still compact enough to easily pack in a piece of carry on luggage.  The perfect accessory for the music lover on the go.  This modest price tag also includes a semi-hard shell case that zips up and includes a tiny pocket that could carry cable adapters or perhaps a few memory cards with more music.

Tipping the scale at just 138 grams (under 5 ounces) the Image ONE phones are extremely comfortable on a long trip.  On a recent trip to London, I put them to the test watching almost all three seasons of Dethklok at one sitting, proving immediately that these phones can really rock while not causing listener fatigue.  My return flight was somewhat calmer, with a mixture of iTunes music and a few episodes of House, which actually put the Image ONE’s to the test again.  House features a great sound mix with a lot of deep bass present, which these phones reproduced effortlessly.

Sound To Share

The Image ONE phones incorporate a 40mm driver in each earcup and have an impedance of 32 ohms.  They use a standard 1/8 – inch stereo mini plug (perfect for your favorite pad, pod or phone) and include a 1/4 – inch adapter so that you can use them with your favorite old school receiver at home.  The low impedance proved easy to drive with my iPad, offering up more than enough volume, even when sitting in a relatively noisy seat.  Indeed, these were a major upgrade from the standard Apple earbuds.  However, if you’d really like to see what the Image ONE’s can do, I suggest an outboard headphone amplifier – specifically my favorite portable headphone amplifier from ALO Audio:  the Rx Mk.2 pictured here. (click here for more info) As you can see, this will not take up much space, and while you might think it madness to add a $450 headphone amp to the mix, the Image ONE phones were up to the task.

The sound quality increased dramatically, listening to the current remaster of Traffic’s John Barleycorn Must Die was fantastic.   The soundstage opened up and I had music floating all around my head. Of course this was too much fun to keep to myself, so I had to share them with the passengers seated next to me.  I know by the time I got home from London, I had convinced a few people that a high performance headphone setup was the way to go.

Often a weakness of less expensive phones, the Image ONE’s had clear and deep bass response.  Laurie Anderson’s “Only an Expert Can Deal With a Problem” from her latest CD, Homeland has some incredibly low frequency bass riffs, as does Orgones Cali Fever.  The Klipsch phones had very convincing output even at the lowest of frequencies.  The high frequency response was much more refined than I expected from a $150 pair of phones, which made classical music that much more enjoyable.  Best of all, the solid ear seal made it easy to enjoy the ping-pong stereo effects from my favorite Beatles and Pink Floyd tracks.

Taking my quest even further, I couldn’t resist plugging the Image ONE’s into the $4,000 Woo Audio SET headphone amplifier when I got back to the office.  These small but mighty phones were finally out of their league, but still gave a good showing.  Regardless of your setup, these headphones will put a smile on your face.  Perhaps the most handy feature with the microphone and remote control built into the cord, that is compatible with the iPhone.  My daughter really enjoyed this when she was lounging about listening; she could stay plugged in and not have to remove the phones when friends called.  Perfect for the world traveler or your favorite antisocial teenager!

Conclusion

While not quite as quiet as a full blown, active noise-cancelling phones, the Klipsch Image ONE’s don’t have the high pricetag either.  They are still a significant order of magnitude quieter than in-ear phones costing much more and thanks to the over ear design, offer up much more solid bass response.  Their light weight, great sound (and build) quality make these my first choice when on the go.  I’m purchasing the review pair and keeping them in my briefcase ready to go on the next trip.  Highly recommended.

The Klipsch Image ONE headphones

MSRP:  $149.95

Click here to go to the Klipsch site