Hi-Fi World Dec 2015 Chord Sarum T Speaker Cable Designed and Built in England by Music Lovers Since Hi-Fi World Dec 2017 1985

VINYL NEWS AND REVIEWS SECTION SEE PAGE 80

HI-FIHI-FIAPRIL 2019 UK £4.50 WORLDWORLD www.hi-ﬁworld.co.uk FREE READ ER CLASSIFIED ADS IN THIS ISSUE! COMPETITION

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EXCLUSIVE! KEF R5 CHORD ELECTRONICS HUGO TT2/HUGO M SCALER loudspeakers

APRIL 2019

DUAL CS 460 turntable EXCLUSIVE! ATLAS ASIMI CABLES SIVE! PRO-JECT PHONO BOX S2 ULTRA EXCLU SIVE! M E A S U R E M E N T ACOUSTIC ENERGY AE300 STANDMOUNTS EXCLU

SIX PAGES OF LETTERS - THE BEST WINS A KEF EGG WIRELESS DIGITAL MUSIC SYSTEM! (UK ONLY) It’s got to be Perfect

Your music deserves quality cables

We go to great lengths (and precise tolerances) to produce our class-leading cables. From solder upwards, every component is chosen for optimum performance.

At the higher end of things, we build strictly to order. Every Signature, Sarum T and ChordMusic product is tested visually, electronically and audibly, before being signed-off by our senior technicians.

All this care and attention helps maintain our international reputation for realistically priced “the difference will be audiophile interconnects and speaker cables - immediately evident, such is the transparency featuring our unique advanced screening, Super ARAY of the interconnects and “It’s“It’s rrareare tthathat ssomethingomething ttrulyruly conductor technology, Taylon® insulation and our loudspeaker leads.” different comes along in the world latest ChordOhmic connectors - backed-up with over of loud-speaker cables – but Chord’s 30 years’ experience. Chord Signature Range new Sarum T is just that.” Hi-Fi World Dec 2015 Chord Sarum T Speaker Cable Designed and built in England by music lovers since Hi-Fi World Dec 2017 1985. Enjoyed by music lovers all over the world. “Sarum T is a product that demands to be heard, by cables Demonstration cables available from all good Chord sceptics and advocates alike” Company retailers. Find your nearest at: Chord Sarum T Range www.chord.co.uk Hi-Fi+ May 2017

Analogue Audio Interconnect Cable of the Year Cable of the Year Chord Sarum Chord ChordMusic

chordco-ad-HFW-FEB19-handbuilt-sig-sarum-awards-XXX.indd 1 07/02/2019 12:36:47 welcome EDITOR oudspeakers have a hole in the middle – and it’s not a port. It is the Noel Keywood gap between low frequencies and high frequencies where the two e-mail: [email protected] cone drive units have difficulty meeting up in decent fashion. This always was the justification for a three-way loudspeaker – one with DESIGN EDITOR a midrange unit that best covers the region where the ear and brain Faiza Chunara together are most alert. And KEF’s new R5 has an aluminium cone tel: +44 (0) 20 8206 6018 midrange unit of impeccable pedigree. That’s why it e-mail: [email protected] L threw so much information at me – see our review PRODUCTION EDITOR on p10 Such a well-developed loudspeaker is almost challenging; you David Noble need to feed it decent digital or lovely LP. Get this bit right however tel: +44 (0) 20 8206 6017 and the R5s sing. e-mail: [email protected] Whilst the KEFs were aurally challenging, Chord Electronic’s M Scaler was mentally challenging. A lot of e-mails went back and forth on SALES MANAGER this one as I needed to make sure my review was not only informative Louise Palfrey but also technically accurate. Chord Electronics are not only masters mob: +44 (0) 7917 047 548 of digital they also are, as a company, very helpful – to their customers e-mail: [email protected] as well as reviewers. This thankfully allowed me to get a good ADVERTISING EXECUTIVE understanding of M Scaler, to explain and resolve what I was hearing. Joanna Holmes And with M Scaler it is all about hearing. Transfixational hearing I would mob: + 44 (0) 7958 602 347 say! See our review on p25. e-mail: [email protected] One million being bigger than 93,000, M Scaler sort-of out shone Chord Electronics new Hugo TT2 DAC – see our review on p18. In PUBLISHER Noel Keywood practice it is a supplemental filter for it (and other DACs), Even though e-mail: [email protected] Hugo TT2’s 93,000 tap filter might not match M Scaler it still easily outruns all other DACs, giving a massively impressive sound – as well as FREE READERS CLASSIFIEDS unbeatable measured performance. tel: +44 (0) 20 8 206 6017 Meanwhile, the glorious LP sails on unfazed by such matters. Pro- e-mail: [email protected] ject have interestingly decided to offer an all-discrete phono stage that Martin Pipe reviews on p89. Silicon chips were never purposed for LP; SUBSCRIPTIONS better is possible. tel: + 44 (0) 1442 820 580 The art and science of audio makes itself known in our April 2019 fax: + 44 (0) 1442 827 912 issue. I hope you find it a great read. e-mail: [email protected]

PHOTOGRAPHY David Noble tel: +44 (0) 20 8206 6017 Noel Keywood Editor WRITERS Paul Rigby, Jon Myles, Martin Pipe, David Tutt.

testing (see www.hi-fiworld.co.uk for full explanations of all our tests) hi-fi world To ensure the upmost accuracy in our product reviews, analyser, using pulsed and gated sinewaves, in a large Audio Web Publishing Hi-Fi World has extremely comprehensive in-house test room to eliminate the room’s influence. Pickup arm Studio 204, facilities, and our test equipment - from big names like vibration is measured with a Bruel & Kjaer accelerometer. Buspace Studio, Conlan Street, Rohde & Schwarz and Hewlett Packard - is amongst the No other UK hi-fi magazine has in-house testing, and London W10 5AP most advanced in the world. none has access to such advanced tests across all types www.hi-fiworld.co.uk Loudspeakers are measured using a calibrated Bruel of equipment. That's why you can depend on Hi-Fi World & Kjaer microphone feeding a Clio-based computer reviews. verdicts OUTSTANDING amongst the best EXCELLENT extremely capable GOOD worth auditioning MEDIOCRE unremarkable POOR flawed £ VALUE keenly priced

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www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 3 contents LOUDSPEAKERS KEF R5 LOUDSPEAKERS 10 KEF's new Reference series floorstander gets Noel Keywood's attention.

ACOUSTIC ENERGY AE300 STAND-MOUNTS 34 Jon Myles checks out new 'speakers from a company that always excites.

SAMSUNG AKG VL5 WIRELESSS CHORD HUGO TT2 DAC/HUGO M SCALER SMART SPEAKER 47 18 This loudspeaker talks to you. Jon Myles listens.

DIGITAL CHORD ELECTRONICS HUGO TT2 DAC 18 The latest high-end DAC from UK mega-experts. Noel Keywood listens.

CHORD ELECTRONICS HUGO M SCALER 25 A one-million tap digital filter. Noel Keywood explains. 34 ACOUSTIC ENERGY AE300 STANDMOUNTS AMPLIFICATION MUSICAL FIDELITY M2sCD CD PLAYER/ M2si INTEGRATED AMPLIFIER 42 Martin Pipe tackles a budget combo.

SAMSUNG AKG VL5 SMART 47 WIRELESS SMART SPEAKER

89 PRO-JECT BOX S2 ULTRA PHONOSTAGE

MUSICAL FIDELITY M2sCD CD PLAYER/ 42 M2si INTEGRATED AMPLIFIER 4 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk APRIL 2019 VOLUME 29 : NO. 2

CABLES 52 ATLAS ASIMI Jon Myles listens to a loudspeaker and interconnect cable that is truly high-end, in price and performance. FEATURES 32 ROON MUSIC SOFTWARE What is Roon? Noel Keywood explains and gives a user experience of this music cataloging and distribution software.

OLDE WORLDE KEF R5 LOUDSPEAKERS 58 PRISM DAC 10 Martin Pipe looks at an old fave DAC. VINYL 80 NEWS REGULARS All the latest and greatest vinyl releases for you, from the pen of 7 NEWS Paul Rigby. Words from the world... 83 DUAL CS 460 TURNTABLE 15 COMPETITION A revived automatic vinyl spinner from German Dual. Noel Your chance to win a Quad Artera Play+ CD player worth £1,195. Keywood takes it easy.

89 PRO-JECT PHONO BOX S2 ULTRA 36 MAIL Six pages of your views, wonderful as always... Martin Pipe checks out a new discrete transistor phono stage from vinyl specialist Pro-ject. 56 SUBSCRIPTIONS Ensure your copy every month and save money too! 93 AUDIOPHILE BOOK The final days of EMI. Paul Rigby reviews a book on the great 62 AUDIOPHILE CD company's downfall. Paul Rigby rounds up the latest audiophile CD releases.

65, 67, 69, 71, 73 OPINION The team get to grips with matters music, hi-fi and life!

74 WORLD CLASSICS Brilliant designs that have stood the test of time...

92 DIAL-A-DEALER A comprehensive guide to UK hi-fi retailers.

95 CLASSIFIEDS Second-hand bargains.

96 NEXT MONTH What we hope to bring you in the next sizzling issue...

97 ADVERTISERS' INDEX

98 CLASSIC CUTS Leo Sayer's 'Just a Boy', reviewed by Paul Rigby.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 5 The new R Series. The only thing to remain the same is the name.

At KEF the quest for sonic perfection demands constant innovation. So when we sought to improve R Series we completely re-engineered it and changed everything. Discover the full story on our R Series website and find your local KEF dealer for a breathtaking demonstration.

KEF.COM/RSERIES

KEF-R-Series-Walnut-HiFiWorld.indd 1 14/09/2018 00:21 NEWS newsemail:[email protected] KLIPSCH KOLLECTION One new speaker? Pah. Instead Klipsch gives us an entire new range - the 18-strong Reference Premiere Series - for which is claimed a “string of improvements” including new horn technology, high-grade materials, luxury finishes and various sonic enhancements. The entry point is £400, which will buy you a pair of RP-400M bookshelf speakers. At the other end of the scale are the Dolby Atmos-integrated P-8060FA floorstanders, a pair of which has a £2400 price tag. Yes, home cinema is evidently where Klipsch is at; a variety of subwoofer, surround and centre channel options are also being offered. Klipsch seems particularly proud of its 90x90 Tractrix horns, which are reckoned to improve high-frequency response and extension while enhancing imaging and dynamics. The tweeters behind them feature exclusive ‘Linear Travel Suspension’, titanium diaphragms and vented ceramic housings for dynamics, detail and cleanliness. What makes the Reference Premieres stand out on first acquaintance, though, are their distinctive copper- spun ‘Cerametallic’ woofer cones - which work in conjunction with Tractrix reflex-ports to deliver “controlled low-end and midrange reproduction”. Contact: Henley Audio, +44 01235 511166. www.henleyaudio.co.uk

TOO GOOD TO BE TRUE... In the January issue, we inadvertently jumbled up our digits when quoting the price of van den Hul’s XGW Colibri Signature Stradivarius cartridge. High-end vinyl addicts were no doubt salivating at the prospect of paying a mere £4750 for one of these hand-crafted moving-coil marvels - a ‘flipping bargain’, as vdH’s PR puts it - but you can actually expect to shell out £7450 for one. Many apologies to vdH, UK distributor Decent Audio and disappointed punters... Contact: Decent Audio, +44 05602 054669. www.decentaudio.co.uk

LIFE BEHIND THE COUNTER Even if you’ve never read that Nick Hornby novel, you might have wondered what goes on behind the scenes of a record shop. Sure, vinyl has attracted interest of late... but isn’t that more than offset by the Internet-driven decline of the high street, and its effect on ‘footfall’? Thankfully, the very same Internet can now help satisfy your curiosity. Head to YouTube and seek out ‘Behind the Counter’ - which is described as “an exciting and brand- new video series that tells the engaging stories behind the weird and wonderful world of the independent record shop”. Presented by Bowers & Wilkins, Record Store Day UK and Classic Album Sunday, it consists of a weekly video featuring “one of the UK’s most intriguing record stores”. The twelve-episode series will receive addition until Record Store Day UK on 13th April, new videos going live each Tuesday at 4 pm. The first episode, featuring Margate’s 'Transmission Records', can be found at https://bit.ly/2AZ9Efy.

BIG MAC LIFESTYLE When one thinks of McIntosh, those iconic big and beautiful black boxes with blue-backlit meters spring to mind. But there’s more to McIntosh than traditional hi-fi gear. McIntosh is now also targeting the luxury Custom Install market with its new ‘multi-channel distribution’ amplifiers (the £4,495 two-channel MI128 and £5,995 four-channel MI254), in-wall speakers (the £2,495 WS300 and larger £2,995 WS500) and £1,495 CS200 in-ceiling speaker. The two amps, which use Class- D technology to deliver 250W to each channel (8 ohms) without the need for cooling fans, can easily-distribute stereo signals to multiple outputs. They boast 12V triggering, auto signal-sensing, installer-friendly physical dimensions...and those famous meters! All of the speakers are three-way and voice-matched to each other for seamless integration, and can be adapted to two-channel or multi-channel applications. The 93mm-deep WS300 and WS500 are fully-enclosed with controlled air-chambers to ensure high performance. Each features one (WS300) or two (WS500) 165mm woven glass-fibre woofers, a pair of 50mm inverted-dome midranges and a 19mm titanium-dome tweeter. The CS200 takes in-ceiling speakers to new performance heights with its 100mm woven glass-fibre woofer, and rotatable array for the midrange and tweeter. Contact: McIntosh, www.mcintoshlabs.com

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 7 NEWS

FISH TALES Platinum-selling artist Fish, who first attracted acclaim through his work with prog-rockers Marillion, is evidently a fan of Parasound gear. In his home, you’ll find a Halo integrated amplifier. A Halo in their dedicated studio facility located close to Edinburgh, meanwhile, is helping Fish and his bandmates to record forthcoming album ‘Weltschmerz’. Fish also put his signature on a Parasound hi-fi system that recently sold at auction in aid of Fish’s chosen charity, Chest Heart & Stroke Scotland. The lucky winner - lifelong fan Barry Capper - got to meet his musical hero during the presentation of a £1,000 cheque to the charity. His wife made the bid as a “surprise Christmas present”. Parasound’s UK importer Connected Distribution organised the charity auction in conjunction with Fish, who is a Parasound endorsee. “For any loyal fan, owning something signed by your musical hero is a real coup.” said Connected’s Mike Bonnette. Further information: http://fishmusic.scot; www.chss.org.uk, www.parasound.co.uk

A VISIBLE DIFFERENCE? Most pickup cartridges involve the stylus-driven interaction between a magnet and coils fashioned from very fine copper wire. However, there’s another non-magnetic contender when it comes to vinyl replay – from DS Audio, which unveiled its first optical cartridge (the DS-W1) back in 2013. The DS- W1 uses a beam of light to read stylus/cantilever movement. Lower weight and freedom from magnetic friction are claimed to equate to delicacy, sensitivity, subtlety and musical believability; however, a special phonostage is necessary. The DS-W1 and phono stage were expensive at over £6k. 2017’s DS002 follow-up brought costs down to under £5k, but now we have the DS-E1. Using "an aluminum cantilever and elliptical stylus" to bring costs down, the DS-E1 and accompanying phonostage can be yours for £2,295. Contact: Sound Fowndations, +44 0118 981 4238. www.ds-audio-w.biz or www.soundfowndations.

FROM CLEAR TO CLEAN New from Clearaudio is the Smart Matrix Silent record cleaning machine, which sells for £1,375 (the dust cover is another £125). Replacing the earlier Smart Matrix Professional model, the Silent is “designed for intensive and continuous use” and employs vacuum-cleaning capabilities that are described by Clearaudio as “gentle yet highly effective”. Claimed to be “effortlessly-simple to operate and maintain”, the Silent is evidently built to last - the arm, chassis and accompanying ‘SMS Seal’ record clamp are all machined from solid aluminium, while the motor at its heart is a powerful yet quiet 500 Watt type. The unit’s multifunctional cleaning, vacuum and antistatic arm features a sliding record-size selector that enables you to clean 12in. LPs/singles, 10in. EPs and 7in. singles. The unit will accommodate both vinyl and shellac discs. It looks good too - here’s a cleaner that you’ll be happy to place alongside your hi-fi. Contact: Sound Fowndations (UK distributor), 0118 9814238 www.clearaudio.de

FOR WANT OF A WASHER... A mere tenner buys this clever washer from Miyajima, the Japanese firm best known for ‘artisan’ phono cartridges. It will be of value to audiophiles whose tonearms have a SME-type bayonet-fitting headshell. These headshells have a non-rigid washer at the point of tonearm fitment and there’s often a perceptible degree of movement. Miyajima’s new ultra-thin split washer is embossed with three indentations, designed to produce a more rigid and less flexible joint, coupling headshell and cartridge more tightly to the tonearm. This “smallest of upgrades” is said to “clearly-improve sound quality”, with benefits including “tighter bass and a more vibrant, dynamic and expressive presentation.” For less than the price of a record, it’s got to be worth a try. Contact: Timestep Distribution +44 (0)1803 833366. www.miyajima-lab.co.uk

8 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk NEWS

DIGITAL RADIO ON THE UP? According to listening figures covering the last quarter of 2018, from audience monitoring body RAJAR, 52.6% of listeners are now tuning in digitally; this figure - “a record” claims trade body Digital Radio UK - is the simple average of the BBC (51.5%) and commercial (53.9%) radio listening proportions. Digital Radio UK estimates that in-car digital listening grew by 15 million hours, now accounting for 37.5% of all such listening. According to data from CAP/SMMT from the end of 2018, 93% of new cars sold now come with DAB as standard. Nearly 2.5m new vehicles fitted with DAB radios were registered in 2018. Digital listening, says Digital Radio UK, “is increasingly the norm...all demographics aged between 10 and 64 have digital listening above 50%”. 35-44 year olds are evidently the biggest fans, 58.5% of them consuming radio in this way; perhaps hardly surprisingly, BBC 6 Music is the most popular digital- THE VOICE OF Q only station A couple of years ago, Armour with 2.3m Home’s Q Acoustics speaker listeners. brand made waves with their However, the RAJAR figures reveal that total UK radio audiences were down by Concept 500 floorstanders. Now 0.9%. In London, the drop was a staggering 3.9%, equating to many thousands of listeners. they’ve shrunk said speakers The audience of BBC Radio 2, still the UK’s most popular station, shrunk from 15.49m to bookshelf size and called to 14.89m. There are now 1.83m Radio 3 listeners - 120,000 fewer than last year - while the result of their experiments Radio 4 lost 769,000 listeners. Only the World Service gained audience. Most digital the Concept 300. During the stations report modest growth, although the number of absolute listeners fell from 2.6m intervening period, Q’s boffins to 2.4m. also used their experience to Visit www.rajar.co.uk refine the advanced underlying technology. It starts with the P2P-braced - and wood-finished - cabinet, which is built up from three individual layers separated by ‘Dual Gelcore’. This is a non-setting gel that turns YOU’VE BEEN FRAMED... high-frequency vibrations into American brand Bose has officially launched, in USA at any rate, its intriguing “AR heat for a more focused audio Frames”. These high-tech shades “combine the protection and style of premium performance. Cabinet resonances sunglasses, the functionality and performance of open-ear wireless headphones, and the are claimed to have “been reduced world’s first audio augmented-reality platform” to create a “truly revolutionary” wearable to negligible levels’. To this high- device. Described as “the tiniest, tech box are fitted a woofer with thinnest, most lightweight 165mm impregnated paper cone, Bose system ever”, the AR and a dome tweeter that features Frames can “stream music a very subtle horn-shaped profile. and information, make or take The biwireable Concept 300, phone calls, and access virtual which is intended for use with assistants”. Instead of “changing amplifiers rated between 20W what you see, or using a lens and 200W, sells for £2,999 with to superimpose objects in your stands. They’re available in gloss sightline”, the Frames – which black/rosewood, gloss white/oak determine location with a 9-axis or dual silver/ebony. motion sensor and your phone’s Contact: Q Acoustics, +44 GPS system – automatically add a “layer of audio, connecting you to endless possibilities 01279 501111. www.qacoustics. for travel, learning, entertainment, gaming, and more”. co.uk There’s no UK launch date yet, and some are already selling these devices on eBay for grossly-inflated prices. An alternative is to buy them for $199 via the New York shopping concierge Big Apple Buddy – but the press-release drawing our attention to its scheme neglected to cover issues like warranties or technical support.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 9 REVIEW Five Alive KEF’s new R5 floor standing loudspeaker brings life to performance, Noel Keywood finds.

EF’s big, black, new R5 floorstanders have technological attitude. KEF was founded on hard engineering analysis back in the 1960s, made it’s name that way andK continues with the tradition today, now as a successful part of Gold Peak (China). And you’ll get the whiff of this background – or more if such things interest you – in all of the company’s literature for the new R5. So what I’m looking at here is an unashamedly advanced loudspeaker in technological terms. What we need in a loudspeaker is one that commits no great sins and suits our expectations. And the R5 is neatly tailored to do just this I found. It’s a high technology design in which subtle but appropriate balances have been made to ensure it appeals, since with loudspeaker design you have to get it all right – and then ensure it sounds good. Technological perfection isn’t the same as sonic acceptability and KEF have struck a nice balance with this compact three-way floor stander aimed at typical

10 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk REVIEW

UK living rooms; an R7 and R11 transport, feeding Chord Electronics exist for bigger spaces and higher M Scaler via its own optical cable, sonic power. connected to an Audiolab M-DAC+. Standing one metre high A MacBook Pro fed DSD from (1070mm) the R5 is sized like most Audirvana Plus straight to M-DAC+, of its showroom rivals. KEF have and hi-res PCM to M Scaler. The kept the front narrow at 177mm ‘speakers were run in for 50 hours. to improve radiating characteristics Spinning Jan Akerman (CD) they say, whilst depth is 350mm singing Am I Losing You – a simply including terminals. For stability the structured track with vocals over R5s come with bolt-on outrigger guitar – the R5s were vivid in feet that take width to 270mm total. portrayal. Rather than the slight Our ’speakers were nicely finished sense of thin-ness and sharpness in a deep gloss black but white and that comes from raised treble of walnut are options. so many current loudspeakers, the Because the cabinet has many KEFs offered a timbrally rich insight internal bracing panels it is heavy at into the instrument, plucked notes 27.3kgs and feels very solid and rigid having speed without laceration. when being moved. Adjustable spikes Akerman’s vocals were focussed with spanner are supplied, plus foam and stable in front of me, pushed bungs for the ports to damp down forward and gripping. Impressive. bass if necessary – something that With uncompressed Rock can be needed for smaller rooms tracks (CD) of wide dynamic range to lessen their boom. Cups are these KEFs gave an in-my-face supplied to fit under the spikes to delivery – especially of vocals – that protect wooden floors. was both refined yet viscerally The R5 features KEF’s well exciting and very stable in image developed Uni-Q driver where an outline. aluminium dome tweeter is placed As measurement suggested concentrically within an aluminium the R5s sound full bodied – but cone mid-range unit, giving a single not bloated – and bass was both assembly that works across a very firm and strong, if not heavy in our wide range, in the R5 from 400Hz large (25ft long) room. There was up to 20kHz. Concentricity and stabbing power to drums from the closeness of the tweeter to Marilyn Mazar’s Drum Impro, with the cone’s apex together eliminate solid and controlled low end follow the usual phase cancellations and up. KEF know how to engineer in asymmetric behaviour of most Twin ports with staggered good low end control and the R5s three-ways, for a more focussed tuning, bi-wire terminals and offered a fine demonstration of and consistent sound both at the sturdy cast alloy outrigger feet their knowledge here. listening position and around the for stability. The spikes are Nigel Kennedy’s Stradivarius room. This unit sits in a shallow adjustable – spanner supplied! violin was well lit and firmly sealed chamber and it appears delivered. The strong midrange from KEF’s exploded diagram rear presence of these ’speakers pushed radiation is absorbed by a foam ring. Tangerine wave guides direct "Their resolution of fine detail is high frequency sound across the surface, resulting in an unusually superb, illuminating orchestral smooth result on and off axis, our measurements show. There’s little difference between pointing the works" cabinets straight down a room or toeing them in to fire direct Note that all drive units have an it out at me and I was thankful at listeners, the Uni-Q is so well aluminium face for consistency of for the healing qualities of the ESS honed. sound character. ES9038 chip in Arcam’s CDS50 Above and below the Uni- The rear carries a bi-wiring player, that I used early on, to make Q sit hybrid 130mm bass units panel with integral links, heavy 16bit from CD palatable – because with a shallow concave aluminium terminals being able to accept 4mm the sound bordered on edgy so front face backed by a paper banana plugs, spade connectors or much was being revealed. At times cone. They both work into the bare wires. with complex material like this rear cabinet whose chambers are I also felt the midband could be coupled, but the upper and lower SOUND QUALITY usefully more transparent in nature. ports are tuned differently, the For the most part I drove the R5s The R5s Uni-Q unit is both lower one working at a lower from our Creek Evolution 100A obvious and revealing of what’s frequency making it most likely to amplifier, via Chord Signature cables. being fed in – which was challenging excite a small room and the best Sources were an Oppo BDP-205D at times. Fine if what’s being fed initial target for a bung I suspect. Universal player acting as a CD in is fine – high quality from vinyl

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 11 “Tellurium Q Statements are no usual cable “…you have managed to surpass them affair and if I’ve called the Silver Diamonds [Silver Diamonds] in a truly grand way.” an Emotional Tour de Force what are then the Tellurium Q Statements!? Well, they certainly transcend any typical labeling and this time I’m elevating them on the throne, that they clearly deserve. Their stand out, extraordinary performance can only be recognized with the 2018 Editor Choice Award!”

-Matej Isak, Mono & Stereo

What has been achieved is a coherent sonic profile and performance across the whole Statement range and that is why we say this is the Tellurium Q® Statement.

telluriumq.com facebook.com/telluriumq.com +44 (0)1458 251 997 REVIEW

for example – but I was getting to playing Korsakov’s hear some of the problem’s within Dance of the recordings: Nigel Kennedy’s violin on Tumblers, from CD always had a slightly edgy sheen Snow Maiden to it for example – and the R5s (24/96), came made this quality of the recording over full sized and more obvious. It’s a phenomenon powerful, a lovely I’ve muttered about before with smooth swathe good hi-fi products: the sound of instruments doesn’t necessarily get better! set out left to Salvation came both from right in front of smooth DSD digital, and preened me. Violins were PCM digital from Chord Electronics made obvious but M Scaler (see review in this issue). I could hear their Via M Scaler the R5s better looked contribution in into the Stradivarius, revealing both succinct form. its qualities and Kennedy’s playing, The R5s his vigorous tempo made apparent also revealed by their clean rendition. differences The consistent tonal signature between of the R5s was made clear with Tchaikovsky’s KEF's unique Uni-Q driver array, with cen- Loreena McKennit’s The Gates of Serenade for tral tweeter firing out through a shallow Istanbul (CD), as well as their bass. Strings (2L, mid-range cone, dispersion controlled by The opening and continuing plucked Norway) as bass had strength and yet was DSD64 (2.8MHz) Tangerine waveguides. firm. Bouzouki came through with and DSD 128 natural clarity and a lively dynamic. (5.6MHz) with a slightly finer and means they do need a very good The whole track hung together more intricate sound from the source or you end up hearing beautifully. latter. Their resolution of fine – as I heard – problems in the Fleetwood Mac’s Dreams detail is superb and, with strong recordings. That’s the other side of (24/96) kicked off hard and fast projection, illuminates orchestral listening to KEF’s revealing Uni-Q from Mick Fleetwood’s drum kit, works. drive unit, something you won’t Stevie Nicks vocals were pushed out hear elsewhere. I almost apologise forcibly and cymbal crashes crashed CONCLUSION for having to say “gentlemen, look – a quality of the recording. Bass KEF’s new R5s come over as to your sources” (women too!) was supple and speedy, and in good all-of-a-piece: there’s no stinging for these ‘speakers, but if you do proportion. treble nor disconnected bass. They then the R5s deliver a sound that’s The Minnesota Orchestra are mid-band projective and this impressive.

MEASURED PERFORMANCE Frequency response of the KEF R5, using Output below 1kHz lifts a little, network. Amplifiers of 40 Watts per third-octave analysis of pink noise, runs by +2dB at most, to add some sense channel will go loud with these ‘speakers. smoothly from 60Hz to 20kHz within +/- of body to the sound; without this a The R5 is well engineered and 3dB limits. There’s some slight variation loudspeaker can sound starkly dry. Low technically accurate. NK across this range but overall smoothness bass rolls down smoothly below 80Hz, FREQUENCY RESPONSE of the trace shows this is a loudspeaker output supported by the upper port that free from the myriad of minor local peaks at 50Hz (red trace) and the lower Green - driver output KEF R5 £2,000 resonances that add colour. port that has broader output stretching Red/orange - port output Starting at the top end first from 30Hz to 45Hz (orange trace). The R5 +20 – meaning high treble – the aluminium cuts off sharply below 30Hz, so it delivers +10 OUTSTANDING - amongst dB the best. dome tweeter that sits behind a deep bass but not subsonics. It has been 0 ’Tangerine’ waveguide delivers an designed to work close to a rear wall in -10 VERDICT extraordinarily smooth response free medium sized room of around 16ft-20ft A focussed and cohesive from peaking, on-axis and off-axis; it is long. -20 sound with great insight and fine bass. consistent in delivery wherever you sit or Sensitivity was 87dB sound pressure -30 20 100 Hz 1k 20k however the speakers are angled. Lack of level (SPL) produced from one nominal IMPEDANCE FOR lift or peaking means the R5 will have a Watt (2.8V) of input, exactly as quoted. - midrange insight top end free from the obvious emphasis However, the R5 draws current to 50 - controlled bass of so many of today’s loudspeakers, achieve this, being a very low impedance Ohms - excellent build and finish

and also lacking their sharpness, design with a 3.5 Ohm d.c.r. and a 30 AGAINST incision and quite often the coarseness measured impedance with pink noise of - lack transparency that accompanies lifted treble due to 4.7 Ohms. Our trace shows there are no emphasis of distortion, especially from residual reactive peaks, due to offset- 10 GP Acoustics (UK) Ltd. CD. So smooth and colour free treble. tuned bass chambers or a compensation 0 +44 (0)1622 672 261 10 Hz 1k 20k www.kef.com

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JA-HFW April 2019 v1.indd 2 06/02/2019 14:57 REVIEW Top Tap DAC Chord Electronics Hugo TT2 DAC now comes with an astonishing 98,304 taps. Noel Keywood listens in – then adds the new M Scaler for a few taps more.

roducts from Chord sum. The TT means it is a table-top else except ESS (although AKM get Electronics are always version of Hugo, more expensive and close). However, Rob Watts states fascinating – even exciting, without batteries. It has a partnering that where other designs have digital sometimes confusing. And 100 Watt power amplifier that you’ll filters with hundreds of taps and that’s just what I found see in many website shots, TTOBY, make compromises as a result, Hugo when reviewing Hugo TT2 price £2899. However, it will drive TT2 now has 98,304 taps in its filter, withP M Scaler. Notes in the handbook any power amplifier. M Scaler is fed by a x16 oversampled signal. M allude to the ‘power’ of Hugo TT2’s £3495 and I talk about this separately Scaler ups this to a massive 1 million audio outputs. Chord Electronics on following pages just for clarity. taps, again fed by a x16 oversampled explain there are discrete power It’s as a super high-technology signal. amplifiers in Hugo TT2 that can drive DAC that Hugo TT2 is presented – Chord Electronics sent us M loudspeakers direct, especially sensi- and usually talked out – using Chord Scaler with Hugo TT2 so we could tive horn loudspeakers. We drove a Electronics own and unique digital-to- hear the difference, a task made pair of Tannoy Westminsters – large analogue convertor (DAC) designed easier by our Martin Logan electro- horns – from a portable Mojo in our by Rob Watts. Manufacturers static loudspeakers. And our ability to January 2016 issue. Could Hugo TT2 normally buy in DAC chips from measure the thing: there are only two drive loudspeakers, slashing system outside suppliers. What you get here analysers in the world able to do this cost? More later! is a highly-specialised and continually – they have one, we have the other. Let’s look at cost. Hugo TT2 advancing design from Mr Watts that, Interestingly they quote a class- is priced at £3995 – a substantial our measurements show, out-runs all leading 127dB dynamic range and

18 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk REVIEW

we measure 128dB from amplifier output, or 124dB from DAC output – both outstanding values. In addition to being a unique DAC, Hugo TT2 is also a preamplifier and headphone amplifier they say. Hmmm... Yes, it is, but it does not have analogue inputs, so cannot accept external analogue sources. The ‘pre-amplifier’ bit relates to the fact that very high gain is available, enough to drive a power amplifier direct or act as a power amplifier in its own right. Two gain settings (Hi and Lo), a big illuminated spherical volume control (centre) and both phono-socket (unbalanced) and XLR- socket (balanced) analogue outputs being fitted to make it all happen. These days headphones rule and Hugo TT2 is designed to cope, which with no less than two full size 1/4in Chord (6.35mm) jacks, plus a 3.5mm mini Electronics jack, so no adaptors are needed. now supply Those on-board power amps let matching Hugo TT2 drive headphones down cables to to 16 Ohms or lower, with massive ensure they reach voltage swing so even the most 192kHz sample rate. difficult of headphones offer no There are no AES/EBU challenge. An unusual addition is balanced digital inputs. three selectable levels of Crossfeed And there are two digital between channels to give a more outputs for future use with loudspeaker-like presentation. Chord Electronics products. The only omission is the lack of a Another input is Bluetooth balanced output. Plugging headphones with aptX compression, for in disables amplifier mode (i.e. the streaming from mobile phones or analogue outputs). any other device such as iPads and There are arrays of digital inputs. portable players that now mostly A fully isolated USB input allows come with Bluetooth. A small, light The illuminated volume ball on a shaft at front, con- Hugo TT2 to be used as a computer’s (plastic) and simple remote control nected to green potentiometer behind. Six green headphone DAC or to send audio unit is provided with all functions, super-capacitors (left) bolster the power supply. At from the computer to the hi-fi. The including volume control, input right is the Bluetooth radio module. At centre the TT2 accepts native DSD (PC only) up selection and filter selection. square black FPGA chip that holds the WTA filter to x8 (DSD 512). At present double- There are four filters, an incisive and DAC. rate x2 DSD (DSD128) is about the neutral filter (Filter 1) that offers limit for music files, because of their ‘absolute reference’ they say, and the Electronics products Hugo TT2 is of size. If you run a PC a DSD driver same with high frequency roll-off exceptional build and finish. The case must be downloaded from (Filter 2) to ‘remove noise’ from is machined from solid alloy, making it Chord Electronics to run hi-res files of 88.1kHz wonderfully strong and with superb native or DoP; if you run a sample rate or higher. contours and detailing. The company Mac the paid-for Audirvana Then there’s a filter with light up the whole device in their Plus app. sends via DoP that ‘warmer tone’ (Filter 3) usual style: the spherical volume works to DSD128 only in and again the same with control at centre changes colour to Hugo TT2. high frequency roll-off show gain, the colour palette moving In addition to the (Filter 4). Differences from red (low) up to green (sensible) USB input there are two between these filters and then into blues to purples and electrical S/PDIF digital were not great and sonic eventually white (max). Internally, the inputs via BNC sockets, not differences small. They LEDs change colour on the circuit the usual phono sockets. work with DSD also to board to indicate sample rate (or They can be used indepen- reduce high frequency DSD) and this is visible through dently, as usual, to accept a noise (2 and 4), a problem the top window. Case dimensions digital stream from outside inherent to DSD. are 235mm wide, 223mm deep and sources, or together as a Like all Chord 46mm high. with a weight of 2.53kgs. special DBNC (Dual BNC) Power is supplied by a Chinese input to accept the DBNC A small and light remote external switch-mode power supply output of M Scaler. There with volume, filters and block that delivers 15V at a high 4A are two optical inputs for inputs. through a cable 2340cm (11ft) long

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in total. Chord Electronics exclusively provided hi-res and DSD replay, again Safri Duo’s 'Samb Allegro' – tremen- use switch-mode supplies and are connected by the supplied USB cable. dously fast but punchy bass. It happy with them, even though I started off with high dynamic seemed perfectly timed and I heard they are shunned by many others. range (uncompressed) rock from CD texture where I had not before, here To compensate for any possible and with Nils Lofgren singing 'Keith in the synth kick-drum beat that limitations in supply transient Don’t Go' got quite a shock. It was underpins the track so dramatically. behaviour ’super capacitors’ are fitted obvious straight away that this DAC Modern hi-res recordings such as to store charge within the unit. has the company’s trademark sound Marta Gomez singing 'Maria' (24/96) And finally to the power – but supercharged. In basic character bettered CD in obvious fashion by amplifier potential of Hugo TT2. think crystal clear and vividly fleshing out a performance with Hugo TT2 produces 20 Watts from insightful, with no hint of warmth. more intense inner detail – making its XLR outputs. However, it doesn’t There was an airy spaciousness to CD sound a tad barren by way of have the heat sinking or devices to the sound, made more apparent contrast. With this superb recording,

At left, twin BNC output sockets (for future products). Next along, two large XLR socket outputs flanked by phono-socket outputs. Then come twin BNC digital inputs that together form a DBNC input. At right are TOSLINK optical inputs and a USB B computer connection. produce such power on a continuous by a very broad soundstage where images were hewn from stone with basis. It works fine and goes loud, the audience yelped and shouted clear space between them – and a but very loud will overheat (there from hard left to hard right in lively vivid dynamic all but defining what are protection circuits). Small fashion, yet they were clear of the high-fidelity must be. loudspeakers are insensitive so vocals with well-identified distance. Fleetwood Mac’s 'Dreams' expect lower volume – but they will This sense of dimensional resolution (24/96) – a hi-res transcription from work well enough on a desk where with hard images on a wide yet firm an old analogue master tape (1977) speakers are close to your ears.

SOUND QUALITY "breathtaking clarity, giving a I used Martin Logan ESL-X hybrid electrostatic loudspeakers driven by starkly clear and concise sound a Creek Evolution 100A amplifier via its direct XLR inputs (no volume unmatched elsewhere. control) through Chord Company Epic XLR cables. Loudspeaker cables canvas remained throughout my – hit me with a dramatic start from were Chord Company (not Chord listening. Lofgren’s rapid finger-picking Mick Fleetwood’s drum kit that Electronics; they are different and was super clear, with better timing had surgical punch – but some of unrelated companies) Signature UL between fine details from the strings the cymbal crashes were too well cables. The unit was run in Amp than I have ever heard, giving a sense revealed. I know the top end of mode, mostly Filter 1 and with of intense insight. It was breath- this track is a bit raspy and here volume set at light blue where full taking – and not just because of the Hugo TT2 made the fact obvious. In dynamic range is available. qualities mentioned but because of a effect it revealed limitations in the Digital was delivered from an sense of great dynamic contrast too. transcription or original recording. Oppo BDP-205D Universal player An astonishing level of revelation was Comparisons got interesting with acting as a CD transport, coupled obvious from this track alone, as well Diana Krall singing 'Narrow Daylight' optically to the Hugo with the cable as ability to lay out the acoustic being on hi-res PCM (24/96) and DSD64. supplied that was a tighter fit into the picked up by Lofgren’s mic. To my surprise there was not much TOSLINK socket than our cables. A Another almost-peculiar difference. Both were relentlessly MacBook Pro running Audirvana Plus property made itself very clear with sharp in timing, clean and clear, DSD

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without the romance I associate with I fancied there was a tad it. more detail but then With classical DSD tracks like there was less Dejan Lazic playing Brahms' 'Piano low-end drive, Concerto No3' although there David Bowie's was fabulous insight - the almost 'Suffragette City' relentless clarity of this DAC made missing a bit of for a lack of organic warmth that propulsive power. So a was not what I expect from DSD. bit of a compromise here Again though, the tremendous sense but do-able all the same. Our DIY loudspeaker adaptor of timing and broad sound stage Headphones are best used at leads, XLR to 4mm line socket gave Hugo TT2 a sense of rigid Lo gain that limits output to 3V composure no other DAC can match, – more than enough. Sound quality (not available commercially; go strings coming through with assured showed all the traits I heard with to RS Components). presence. loudspeakers, cross-feed (XFeed) After writing the above I was making the experience less in-head. peculiarly tight yet punchy bass. It is told Hugo TT2 converts DSD to a little short on warmth, especially PCM, presumably because the CONCLUSION with DSD, majoring on deep analysis custom FPGA chip lacks a DSD Hugo TT2 resolves both CD and hi- instead – undoubtedly its forte. process route with low pass filter. res digital with breathtaking clarity, To hear CD and hi-res like you’ve This explains what I heard though. giving a starkly clear and concise never heard it before, and as you will With hi-res classical such as sound unmatched elsewhere. It not hear it anywhere else, this is the the Minnesota Orchestra playing also has fantastic timing and almost DAC to audition. Korsakov’s 'Dance of the Tumblers' from 'The Snow Maiden' (24/96), TT2's large canvas made the MEASURED PERFORMANCE orchestra sound both vast and The crucial EIAJ Dynamic Range value full scale (0dB FS) to match other dynamically engaging, kettle drums of Hugo TT2 was 124dB in DAC mode manufacturers. Our -60dB test is more having sudden and solid power when and 128dB in Amplifier mode, set to Hi meaningful and now widely used. S/PDIF struck, the instruments all seemingly gain and with volume advanced to avoid and USB gave identical figures. well separated with clear air between output clipping (light blue on the volume Distortion with CD (16bit) measured them. Again, it was time to run up the control). Both are exceptionally high 0.19% at -60dB, not a lot different to volume! values not bettered elsewhere, although usual due to quantisation noise inherent This was something I kept doing ESS DACs match the figure. in 16bit. Dynamic range was 101dB. and suddenly the penny dropped. DesignerRob Watts insists distortion The S/PDIF electrical (BNC socket) Using Amp mode at high gain – light is more important than dynamic range and optical digital inputs (with supplied blue and above on the volume sphere and here the Hugo TT2 produced a optical cable) both accepted 192kHz – maximises dynamic range. And I record low value of 0.008% at -60dB sample rate PCM, frequency response was running at light blue and above, with 24bit - see our analysis. At best measuring flat to 55kHz (-1dB) with Filter effectively achieving a dynamic range rivals manage 0.02% so Hugo TT2 has 1 and 3 before slow roll off to the 96kHz of 130dB or more. That’s way above half their distortion. Note that Chord upper theoretical limit, our analysis the 120dB of top class rivals. Electronics only quote distortion at showing Filter 1. Filters 2 and 4 had a An issue Hugo TT2 raised FREQUENCY RESPONSE 21kHz (-1dB) upper limit – low. They are was that of ‘insight’. It appears to quite strong filters.. have insight into digital, as it were. At Lo gain the headphone outputs CHORD Transcriptions of old analogue perfor- delivered 3V max, at Hi gain 8V max. ELECTRONICS mances had their faults revealed and – more than enough for all headphones. HUGO TT2 £3,995 did not sound wholly better. Modern Distortion an dynamic range values were hi-res recordings fairly assaulted identical to Line out at Hi gain, just tad me with everything from detail to lower at Lo gain. OUTSTANDING - amongst dynamics, sounding almost too good Results with M Scaler were identical the best. to be true. Good CD was fine but although dynamic range did reach old CD was revealed as, well – old VERDICT 129dB. Fabulous DAC with CD and not so nice. DISTORTION Hugo TT2 delivers class leading analytical and precise sound. Bluetooth worked well once measured performance in all areas. It has Unimpressive with DSD. I had entered the PIN number huge dynamic range and unusually low demanded, which the handbook fails distortion. NK FOR to mention: it is 0000. Interesting that - great sound from CD - styling and build quality the limitations of aptX compression - small size became quite obvious in contrast to Frequency response 5Hz-55kHz - wide range of inputs all else. Distortion (-60dB, 24bit) 0.008% And finally Hugo TT2 did indeed Dynamic range (EIAJ) 128dB AGAINST drive our Martin Logan ESL-X Noise -126dB - lacks warmth - dry DSD loudspeakers quite loud (Hi gain) Output Hi gain (Ph/XLR) 8.5V / 17V Output Lo gain (Ph/XLR) 3V / 6V via the XLR output sockets, using a Chord Electronics Output DAC (Ph/XLR) 2.5V / 5V pair of adaptor leads I soldered up +44 (0)1622 721444 Output H’phone (Lo / Hi) 3V / 8V (XLR to 4mm line socket). At times www.chordelectronics.com

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AD_Arche_210x297.indd 1 15/02/2019 09:36 REVIEW A Few Taps More Chord Electronics release a unique product – M Scaler. It's a one-million tap digital filter that transforms CD, they say. Noel Keywood listens.

o celebrate producing a produce better sound! one optical via a TOSLINK socket, one million tap digital filter To clarify the purpose of for connection to an external DAC. Chord Electronics have this product, it is to get the very This can be any DAC, not just one released M Scaler. M Scaler best from CD, by first scaling up from Chord Electronics – if with isn’t a product you’ll find sample rate from the low 44.1kHz limitations I’ll explain later. For Hugo elsewhere, even though – necessary in 1982 when Philips TT2 and other Chord Electronics Tupscaling is not a new idea. However, and Sony were developing CD – to products there is also a Dual BNC M Scaler doesn’t just upscale, it also 705.6kHz that will run on today’s (DBNC) output pair that outputs at possesses a Watts Transient Aligned silicon. Then the stream is passed the full 768kHz sample rate. (WTA) filter in its most advanced through the WTA filter and on to an Input wise, there are two ever state because of those mile- array of outputs. There are standard electrical BNC socket inputs, two stone one million taps. That’s what S/PDIF digital outputs in the form of TOSLINK opticals and one galvan- you pay £3495 for. And trust it will one electrical via a BNC socket, and ically isolated USB for connection

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Distributed by Henley Audio T: +44 (0) 1235 511 166 | E: [email protected] | W: www.henleyaudio.co.uk

MF M2 Series A4 advert.indd 1 08/11/2018 09:49 REVIEW

but Chord Electronics disarmingly indicate in a chart within M Scaler’s handbook that there’s no sound quality improvement, except when blue (x2) is selected (why white also at x2 gives no improvement I have no idea). To summarise simply, M Scaler works best with CD and 48kHz sample rate files, with output taken from the DBNC socket-pair to a Chord Electronics DAC with DBNC input. Queried about the special DBNC connection, Rob Watts told me it is an AES S/PDIF dual-mono mode with changes to the data bits to flag this status. DBNC does not bypass all Hugo TT2’s filters by the way; the first of three stages is bypassed, the second two stages remain active. Like Hugo TT2, build and finish of M Scaler is impressive, its case being machined from solid at a sample rate alloy, making it wonderfully that suits such DACs, strong and with superb meaning you can’t input contours and detailing. Case 24/96 hi-res and upscale dimension are 235mm wide, Under the cover – another x16 to a sizzling 1.5MHz 236mm deep and 40.5mm cover! This one with non- ‘cos there’s no DAC out high, with weight of 2.55kgs. removable screws to shield there able to take it – and Power is supplied by from prying eyes, as well as cables become an issue too. the same Chinese external Consequently, with a 96kHz switch-mode power supply provide further RF screening. input M Scaler upscales x8 block used with Hugo TT2, At front in a line are the acrylic to 768kHz max, but only delivering 15V at a high 4A spheres that act as illuminated through its DBNC output through a cable 335cms switches. sockets to feed Chord (11ft) long in total. Electronics products like There is a video mode to a computer. Both a front panel Hugo TT2 with a matching that reduces filter time spherical button (2nd from left) or DBNC input. The single delay (0.6secs) so speech the remote control can be used BNC outlet for other synchronises with the to step between inputs, the button DACs is limited to 384kHz picture, achieving this by changing colour to show selection. under all conditions so as reducing the number of filter Output sample rate is set by an to suit both their DAC chips and taps. illuminated spherical button third-in commercial interconnect cables. The USB input did not accept from left. Lit red the unit is set to I mention cables because optical DSD from my MacBook Pro laptop running Audirvana, that is packaged as DoP code. It may accept native DSD "Like Hugo TT2, build and finish from a PC, but you can’t get a Mac to do this. M Scaler is about improving of M Scaler is impressive" PCM, not reproducing DSD. bypass, then with CD x2 upsample TOSLINK cables barely work past SOUND QUALITY to 88.2kHz is green, x4 to 176.4kHz 96kHz, not just because of internal I used M Scaler mainly with CD is blue and max upscale of x16 to losses and low bandwidth of the delivered in optically from our Oppo 705.6kHz is white. Now on to practi- cheap plastic optical conductor, but BDP-205D Universal player acting calities. also because of imprecise termination as a CD transport. Unsurprisingly M Scaler as a real world product in TOSLINK sockets – wiggle ‘em perhaps, it does not change the must feed external commercial DACs at high sample rates and see what sound of Hugo TT2 so much as and at present most DAC chips work happens! So the optical output of M magnify it to a degree that was eye up to but not higher than 768kHz; Scaler is restricted to 192kHz for popping. With Nils Lofgren’s Keith older designs 352.8kHz. So whatever entirely practical reasons. The data Don’t Go the sound stage became goes into M Scaler must come out still passes through the WTA filter even larger and more densely

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At left, two gold plated BNC digital inputs, two optical inputs and a USB for computer connection (centre). Then optical and BNC outputs, and right twin DBNC outputs for Chord Electronics products with matching DBNC inputs. powerful, as if images had gained muddle from the sound of M- was unspectacular, but a compli- physical weight. There was more DAC+, separating images and events, cating factor was I had to use the internal detail too. The only slight retrieving more atmosphere from Arcam’s unbalanced outputs to feed alteration, rather than amplification, recordings and also broadening the Creek’s line input and volume was a subtle smoothing of the sheen the sound stage with firmer and control; neither Arcam or Creek have on strings, from Nigel Kennedy more strongly embodied images. volume adjustment on their balanced playing Massenet’s Meditation. Even better, the full bodied sound lines. So perhaps some muddle crept in as a result. Whatever, whilst this combo worked at a functional level, it "the sound stage became larger did not convey the sonic benefits of M Scaler. and more densely powerful, as The warning here then is M Scaler has problems interfacing with if images had gained physical DACs other than Hugo TT2. Yet at the same time I thought its coupling weight" with M-DAC+ was sublime and, for me at least, I would rate this pairing worth hearing. The extraordinary However, with Marianne Thorsen of M-DAC+, with its on-board high cleanliness, composure and timing of playing Mozart’s Violin Concerto in current, low noise linear power M Scaler, as well as its sound staging G Major (24/96) her violin was still supply was retained, even slightly properties were all passed to M- sheeny, but this recording has always enhanced by the smoothing effect DAC+ that in turn sent out a sound CHORD been so. M Scaler, like Hugo TT2, of M Scaler – I fell in love with this that was big bodied and easy going. ELECTRONICS does not euphonically process such combo! Korsakov’s Dance of the HUGO M SCALER recordings so much as expose their Tumblers (24/96) became even CONCLUSION £3,495 intrinsic character. larger, orchestral instruments more Chord Electronics M Scaler embodies M Scaler’s benefits become less distinctly separated. Diana Krall Rob Watts view of how to perfectly apparent at higher sampling rates singing Narrow Daylight (24/96) came reproduce digital. I thought it was OUTSTANDING - amongst used in hi-res recordings (e.g. 24/96). into stronger focus, accompanied by devastating. You get to clearly hear the best With Marta Gomez singing Maria a slightly smoother quality. how CD can sound when all the VERDICT (24/96), images were densified and The one wrinkle here was M- rubbish is swept away, performers If you want the best from CD, the sound stage hardened up, but by DAC+ would only see 176.4kHz and instruments all being placed in M Scaler is a must-listen. a smaller if still useful degree than sample rate maximum, falling silent solid form on a wide and clear sound Expensive but worryingly the changes heard with CD. at 352.8kHz from M Scaler, so x4 stage. Add in almost-peculiar bass good. The idea of putting M Scaler was available, not x8. Changing cables timing and resolution and you end up FOR in front of a DAC other than the made no difference. with a sound not available elsewhere. - sound quality distinctive sounding Hugo TT2 With an Arcam CDS50 CD It’s expensive – as you must - small size could be very interesting I thought, player interface difficulties became expect from a technological exercise - build quality or a damp squib. It was both. Our strange. The Arcam flagged up sample dedicated to FPGA silicon to make Audiolab M-DAC+ was a prime rate from M Scaler as 44.1kHz it happen and commercially available. AGAINST - inconsistent with ext. DACs candidate and a qualified success; an only where M-DAC+ had already It works most assuredly with Chord - no DSD Arcam CDS50 CD/SACD player a shown it varied as stated. I tested the Electronics DACs having a DBNC failure. See my column. CDS50 on a digital generator and it input and is for PCM, not DSD. Book Chord Electronics From CD through to hi-res correctly showed input sample rate, a demo and have a listen. This is a +44 (0)1622 721444 M Scaler quite clearly removed so no fault here. Worse, sound quality unique and extraordinary product. www.chordelectronics.com

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 29 P52-P53.indd 52 13/6/16 15:09:22 P52-P53.indd 53 13/6/16 15:09:24 FEATURE Ready for Roon Powerful music server software for today's home, Roon may be just what you are looking for. Noel Keywood explains.

eaders ask about Roon independent server, so your PC Receiving a Roon stream gets music distribution does not have to be switched on. complicated. It can send any digital software. And Chord Roon ‘end-points’ best cope with its format a DAC can handle, so no Electronics told us “we stream. You may need to upgrade to worry here. All the same, Roon use Roon at Shows”. Big meet these criteria – extra cost. choose to identify products as ‘Roon endorsement. So what is The software will run on your Tested’ or ‘Roon Ready’. Roon?R Here’s a short explanation. computer, Mac or PC, and works ‘Roon Tested’ products have been In essence, Roon catalogues your with iOS and Android. If you want tested in-house to provide users with

music collection, retrieves artwork it to run and and background info from on-line be controllable sources, lists alternatives within a from iPhone genre that may be of interest to or iPad (for you, controls storage (e.g. from a example) with dedicated NAS drive), and finally the computer sends the digital signal to your hi-fi in switched off, a whatever format best suits it. Roon equipped The last bit is the hi-fi bit in server is hardware terms: music can be sent best. Henley to your hi-fi in just about any format, Audio (www. including DSD. henleyaudio. Roon works with MQA and Tidal co.uk/brands/ Masters, enabling hi-res streaming Roon) offer from internet source straight to dedicated your hi-fi. It’s a massively capable and Nucleus or Nucleus+ audio servers best settings for that product. comprehensive piece of software, but at £1500/£2500. The Nucleus is ‘Roon Ready’ products are able technically dense. based on an Intel NUC PC that has to run the company's end-point Cost? Yearly cost is $119 and sufficient internal processing power software, ‘embedded into’ devices lifetime subscription is $499. There to assemble and deliver data without to give best results. This implements is a two week free trial (go to delay. RAAT – Roon Advanced Audio https://roonlabs.com/). The system Alternatively, a NAS drive with Transport. Roon told us: “these works best with a Roon optimised Roon ROCK server software can products offer the best of Roon’s be used – only possible features including high-resolution with drives able to run streaming, two-way control, Signal this software. If you Path integration, and synchronized have a reasonably multi-room playback”. powerful PC or To offer all this Roon regularly Mac and leave it update their software and the price running, no need includes a host of licenses for outside for a dedicated services that supply meta-data (data server, but dedicated about the music). They also aim to servers lack noisy make the system easy to use and peripherals such as friendly. But at the same time there Bluetooth, wi-fi and are a lot of settings and menus to Nucleus Roon server, based on an Intel NUC with other services, so are navigate for best results. unnecessary services turned off. preferable. Will a Roon Ready product ever

32 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk FEATURE

appear with tubes? Wouldn't dare ask. RUNNING ROON Roon can be installed simply and cheaply, onto a PC or Mac (or Linux) – the best way to start out. Or you can go the whole hog – complex, expensive – and limited to Roon Ready products. Here’s a quick run Moon 280D DAC with MiND 2 is a Roon Ready DAC able to accept down of Roon in a basic set-up. Tidal Masters, Deezer Hi-Fi and Qobuz Sublime+ music services. I ran Roon on a Mac (112MB download) connected via USB to an Preferences to send DSD over PCM them and identifies quality differences Audiolab M-DAC+. There were no using DoP made no difference – a – neat. problems. You are asked to identify surprise because Audirvana Plus has Even better in principle, if music folders and provide permission no problem here: M-DAC+ flags up arguably not in practice, Roon for on-line data retrieval but the user DSD64/128. It appears then that on a provides a dynamic range value for interface screens are well designed Mac, the Mac version sends DSD as an album (not a track) – something I and clear. Roon did well in identifying PCM, not DoP. found intriguing. In their Knowledge a thick melange of ‘music’, including This issue apart Roon offers Base it is identified as an EBU R128 recognising a lot of obscure test a seamless and impressive user LRA value. Some of these I had tracks not for commercial release, experience in basic form. The play doubts about, high dynamic range whilst defaulting to a grey cover for screen carries album cover artwork, tracks from CD samplers measured test material recorded on Audacity release date, an album review that a measly 8 (MAAT says 12/14) ) and therefore not on any searchable gives useful background information and Jackie Leven’s The Mystery of database. – even an editorial star rating that Love is Greater than the Mystery Audiolab’s M-DAC+ was raised my eyebrows a few times! of Death a high 15 where MAAT recognised and selected but remained Audio format data (AAC, FLAC etc), says around 8/14. The reason is silent until the Mac’s Sound panel had sample rate (e.g. 44.1kHz for CD) explained by MAAT (www.maat. digital/drmeter), whose dynamic range meter I use: “LRA turns out to be useless for dynamic measurement of pop and MOR music genres due to its inherent design, which ignores the top 5% of content, in terms of amplitude, so as to prevent extremely loud passages from affecting the overall result. Unfortunately, that top 5% of amplitude is where 90% of modern music lives”. Roon at least broaches the subject and gets a value up on screen – it’s a start! Roon not only sees your music collection but Tidal and Qobuz on- line music servers too. This brings into the picture Tidal Masters and Roon’s ability to process MQA from end-to-end, a subject I have yet to explore. Already one expert tells me they don’t agree with the filtering The Roon play screen, with album artwork (from an on-line data- used within MQA, their filtering being better – so this is a subject that will base), review, an amplitude time-line at bottom. Below the cover run! this file has been identified as an AAC at 44.1kHz – an iTunes Sound quality? Running M- escapee. Beneath is an EBU R128 dynamic range value of 15. DAC+ (via XLR) through a Creek Evolution 100A amplifier and Martin been set to see it, including Audio and data rate are all shown, usefully Logan ESL-X hybrid electrostatic MIDI setup (in the Utilities folder), as allowing different versions to be loudspeakers, as well as headphones always. identified, including floating rogues (various), the sound was crisp Utilising the Mac’s core audio, – files that have been re-formatted and clear – obviously high quality. M-DAC+ saw the sample rate and for test purposes in my case. In This is a quick look at Roon at a bit depth set in Audio MIDI setup fact they have been put into folders functional level – not an in-depth – PCM 384kHz, 24bit maximum. as test files, so Roon is unable to sonic assessment that demands a Whatever was set here was flagged identify their status, as perhaps is Roon ready end-point. But even in up by M-DAC+, as expected to be expected with no file location basic and reasonably inexpensive except with DSD. Setting Roon’s data on screen. The converse is that form it does deliver a rich musical DSD playback strategy in Audio if you have multiple files Roon finds experience, as claimed.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 33 REVIEW

Acoustic Energy’s new AE 300 standmount loudspeakers offer a big sound from a compact cabinet, says Jon Myles. Appealing Acoustics ompact loudspeakers have 300mm x 175mm x 260mm (H/W/D) providing a wider sweet spot. many advantages – espe- they are small – but Acoustic Energy These drivers are housed in an cially for those who are has packed some clever technology MDF cabinet which is nicely rounded looking to position them into the package. at the top, bottom and sides and in small to medium-sized First of all there’s a newly- features a slot-shaped reflex port on rooms. developed 130mm mid-bass the rear to help boost bass output. C However, getting them to deliver drive unit. This features a ceramic good sound at a realistic price can aluminium sandwich cone with a SOUND QUALITY be a difficult task. Bass power and a shallow profile but a high-force, long- The immediate thing that struck me sense of musical scale are all made throw motor system for extended about the AE 300s is just how big more difficult when the designer is low-frequency output. they sound for their size. Closing working with a small cabinet. Allied to this is a 25mm my eyes I could easily believe I was Take a first look at Acoustic aluminium dome tweeter especially listening to a pair of floorstanders Energy’s new £599 AE 300s and you’d designed for the AE 300s. It is housed – yet the Acoustic Energys are much immediately think they’d suffer on in a proprietary Wide Dispersion smaller and rather more room these factors. Measuring a diminutive Technology waveguide aimed at friendly.

34 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk REVIEW

However, just as in any quality the track again and again to revel in loudspeaker, set-up is important. the levels of detail revealed. So I placed them on a pair of solid stands and angled them towards CONCLUSION the listening position. Experimenting As compact loudspeakers go the here showed they sound best in this Acoustic Energy AE 300s position. Having them firing straight are hard to down the room didn’t work well for beat. They me. may be Well-positioned though they small but shone, bringing a vibrancy to they sound whatever music I played. Bass on The Acoustic Energy Wide sophis- Joy Division’s ‘She’s Lost Control’ Dispersion Technology wave- ticated, was extremely strong and distinct guide on the tweeter provides detailed coming over with admirable force. It a room-filling sound. and larger punched hard but there was no sense than they of overhang or cabinet colouration violins on the Mahler piece were look. Pair – just a tight feeling to the notes well-defined and the decay of notes them with from Peter Hook’s instrument. realistic – a testament to just how a decently- The Acoustic Energys also good the tweeter and its waveguide powered projected Ian Curtis’s voice well into work. amplifier the room while the whole track had With the silky tones of Sinead and they will a propulsive quality to it. O’Connor on her version of ‘Peggy provide a brilliant These ‘speakers sound fast, Gordon’ from ‘Sean-Nós Nua’ combination that's working well on rock and pop music. (24/96) the intakes of breath between well worth hearing. Playing The White Stripes’ ‘Seven the lines took me aback. This was Nation Army’ the drums which as realistic as it comes from a set of The AE 300’s slot port on the rear enhanc- underpin the track crackled vibrantly, compact standmount loudspeakers. es bass capability as well as working well rim-shots coming over brightly but So much so I could not help playing next to a rear wall. never edging into harsh territory. All this was through a Creek Evolution 100A amplifier which has MEASURED PERFORMANCE some 110 Watts of power on offer. Frequency response of the AE 300, wide dispersion will make this amenable And these Acoustic Energys do need using third-octave analysis of pink noise, to hear, rather than edgy or sharp like some grunt to really get them going shows basically level output from 60Hz uneven-response tweeters, adding in (see our Measured Performance for to 20kHz within +/-3dB limits. There’s subtle high treble presence. full information). They will certainly variation across this range that will Lack of an upper midrange dip at not be for those who prefer low- add character. Some plateau lift around crossover around 3kHz ensures strong powered valve amplifiers. 200Hz will add a little lower-end body, delivery of detail. However, with this combination whilst a midband lift around 1kHz will Like most loudspeakers of its size correct performance comes alive. help project vocals, giving strong image the AE 300 is purposed for near wall Correct positioning makes a presence. mounting and this helps lift output difference; the slot port at rear The tweeter lifts by around +2dB that falls away slowly below 80Hz. A makes close-to-wall positioning work above 3kHz, enough to add top end loudspeaker like this is best on a stand at well. There’s no annoying boom, just sheen. However, its smooth output and one end of the room with listening at the other, so it drives the lowest room mode a seamless sound that has a coherent FREQUENCY RESPONSE ACOUSTIC ENERGY whole to it. effectively. AE 300 £599 On Nick Cave and The Bad Green - driver output Lower bass is supported by a rear Seeds’ ‘The Curse Of Millhaven’ the Red - port output firing slot port around 60Hz (red trace) £ guttural vocals sent a shiver down that our impedance analysis also shows OUTSTANDING - amongst +20 my spine but, while prominent, they as a trough at 60Hz with residual peaks the best +10 didn’t detract from the guitar work dB ether side. The port is quite sharply VALUE - keenly priced below. Instead everything was in the 0 tuned, suggesting lively bass. Sensitivity was on the low side right place with good separation -10 VERDICT between the whole band. at 85dB sound pressure level (SPL) A compact loudspeaker -20 If there’s any criticism to be produced from one nominal Watt that punches well above its -30 (2.8V) of input. Amplifiers of 60 Watts weight. Highly recommended. made it’s that the 300s lack a little bit 20 100 Hz 1k 20k of sophistication compared to some per channel will go loud with these FOR IMPEDANCE ‘speakers. The reason is this is an 8 Ohm more expensive rivals. - tight bass Playing Mahler’s ‘No 4’ by the 50 nominal impedance loudspeaker, where - fast sound San Francisco Symphony the string Ohms most are now 6 Ohms or less. - easy positioning Fundamentally accurate but specif- section sounded a little constrained 30 with a lack of absolute resolution. ically voiced, the AE 300 will come over AGAINST - nothing at the price However, we are talking about a as fast, forward and with lively bass. It £599 standmount loudspeaker here 10 does need some power however, due to Acoustic Energy low sensitivity. NK +44 (0)1285 654432 – and one that excels in what it does. 0 For example, the leading edge of the 10 Hz 1k 20k www.acousticenergy.co.uk

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 35 LETTERS & EMAILS

Visit our website at www.hi-fiworld.co.uk Mor send your emailsail to letters@hi-fiworld. co.uk. Letter of the month wins a pair of KEF EGG wireless digital music system

Answers by: NK - Noel Keywood; JM - Jon Myles; PR - Paul Rigby; MP - Martin Pipe.

KEF EGG WIRELESS DIGITAL MUSIC SYSTEM http://uk.kef.com/egg

[subject to availability - Gloss Black, Pure White or Frosted Blue]

For more advice see Letters from earlier issues at www.hi-fiworld.co.uk/letters

A KEF EGG WIRELESS DIGITAL MUSIC SYSTEM is on its way to MICHAEL HENDER letter of the Month winner in our March 2019 issue. Letter of the Month

COMING CLEAN Paul Rigby’s review of the Kirmuss Audio KARC-1 stimulates me to write with firstly a few comments on the review and then to share my own ultrasonic based cleaning system. It is clear from reading the review that the Kirmuss device is very dependant on manual processes, with up to five spray and brush steps each followed by 5 minutes in the ultrasonic tank. Although less dirty records may need less time, this means at least half an hour per record. I note up to two LPs and two singles can be cleaned together, but need to be staggered by a minute. Watching the videos on the Kirmuss web site is essential and quite entertaining and gives more detail than I suspect space allowed Mr Rigby. Additional information gleaned from Kirmuss Audio KARC-1 LP cleaner. “Watching the videos on the videos is that the ultrasonic cleaner the Kirmuss web site is essential and quite entertaining” says needs to be rested after about five Charles Pidsley. cycles to cool down and the fluid in the tank needs replenishing after cleaning wish to use it for the most valuable and polish being the finishing stage 15-20 records. and treasured items in the collection, according to the video), I think the In summary, the Kirmuss cleaning although the amount of handling review would have benefitted from system does appear to offer the most required makes me anxious about a weighing up of the input required thorough clean a record can hope for, unintended damage. versus the result obtained compared to but at a cost of considerable time and Bearing all this in mind and the the all-in-one solutions available. effort. I would suggest one would only lack of a drying process (evaporation A few years ago I was looking

36 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk LETTERS & EMAILS

at options to upgrade from my Disco keep on top of cleaning my acquisitions, LP. There might be better ways to Antistat cleaner and investigated many from charity shops. The fluids to restore vinyl than attacking it! NK ultrasonic cleaners. Being unable/ clean 200 records cost £50 i.e. 25p per unwilling to spend upwards of £3000 record. HERE’S AN UPDATE on an all-in-one solution, I concocted Regards, Well, it has been a few months since I the following process, all using the Charles Pidsley. last put pen to paper – thought it was Audiodesk system fluid diluted with about time I gave an update. distilled water (no alcohol content). Hi Charles. That is both fascinating In response to my last letter you Firstly I carry out a pre-wash using and helpful to other readers. Thank suggested Quad CD player and a valve the old Discostat and discarded fluid you. I recall long ago a comment based phono stage from Quad or Icon from the ultrasonic bath, unless it’s made by a professional that vinyl Audio. You also recommended some visibly murky. contains lubricants that can be sound absorption for the back wall. Well, Secondly I use a rotating record leached out by cleaning with strong I have sort of taken your advice. On clamp with up to three records called alcohol solvents, making the vinyl the phono stage I finally settled on an the Vinyl Stack Ultrasonic spin kit, noisier, not quieter. This is not to EAR834P and this will be arriving in the imported from USA. This rotates the be confused with stamper release coming week, so valves are in :-) records submerged to the label in an agents, as it often is. I was tempted by the Icon Audio ultrasonic tank. The frequency is 40kHz An article on LP moulding but two boxes put me off due to and power 360W. I use a 5 minute compound in an AES 100th space challenges. Why do we not hear cycle in temperatures between 21 and Anniversary of the Phonograph anything about EAR or Audionote phono 40 deg C. I use a speed for the spin (1977) confirms the use of fillers, stages these days? I also would be which completes 3-4 spins in those 5 modifiers, plasticisers and anti-static interested in other such phono stages. minutes. agents in addition, so harsh chemical On the CD side of things I have For more advice see Letters from earlier issues at www.hi-fiworld.co.uk/letters Lastly, having drained the records treatment of vinyl may well cause listened to a number of CD player in the faithful Disco Antistat rack I damage. Your findings that some LPs combinations. One of my favourite was dry them off using a manual vacuum don’t respond to cleaning is likely a two-box affair from Italian company device called the KAB EV1. There is due either to low quality vinyl with Lector, it weighed over 40kg, came in no vacuum motor within this device, noisy fillers, plasticisers or even two large boxes and used valves in the vacuum being supplied by attaching a coarse carbon black – or removal of output stage, it sounded superb but domestic vacuum cleaner to the pipe lubricant in the cleaning process. sheer size counted against it and so at the side! (see photo). The record is I would have thought that light reluctantly had to say no. I also listened manually turned on the turntable until pressure washing with water may to a couple of secondhand Audio dry. A little experimentation is needed in be sensible, perhaps after an LP is Research players (with and without the attachment of the vacuum cleaner soaked to loosen matter. I leave my valves). I also tried to get my mitts on to achieve the right balance of suction. records alone, being fearful about an AMR CD777 but no luck/availability Records are then inserted into anti- causing harm. and too impatient to wait weeks just to static inner sleeves and the cover in a Also, I notice that some LPs hear. polythene jacket. become noisier over time, apparently I finally decided on an as-new What of the results? Invariably as lubricants slowly dry out. This secondhand Canary Audio CT600 the records look very shiny and clean. suggests restoration would mean transport along with a Chord Qutest There is no residue on the stylus which soaking in a vinyl lubricant – not DAC. I took a risk on the transport, surely must be a good sign. All of the washing at all. I have no idea what buying it unheard which is really a listening comments in the review apply, particularly dynamics and extended EAR’s 834P valve phono range, top and bottom. The sound stage stage. “Arriving in appears broader as well. the coming week, so Not all noise is removed and the valves are in” says John results do seem quite variable, with Speight. some records being completely quiet and others disappointingly noisy still. I did get the worst offenders cleaned using an all-in-one system and was comforted if still disappointed to find there was no improvement. I suspect this depends upon the nature of the contaminant, with some being welded into the record surface. The total cost of my system excluding domestic vacuum cleaner cost around £1000, much the same as the Kirmuss. This was mainly due to the horrendous freight costs of importation a vinyl lubricant might be though, no-no, but it was a risk I thought from the States. or whether old vinyl could re- worth taking, especially when you I estimate I can clean 36 records absorb it. But all this suggests that look at the build and specification. in about 3 hours, so the trade off for aggressive cleaning in particular is Based on first impressions when not quite the best clean is that I can not necessarily a good idea for the unpacking and early listening

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 37 LETTERS & EMAILS

(even with an old Rega DAC) I am extremely happy with my choice. It looks and sounds superb, built like a battleship. I am currently waiting for the delivery of the Chord but based on demonstrations expect the set up to sound superb. The DAC was a challenge, I really wanted to try valve based DACs following my experience with Lector but was really challenged to find any at the right price point and to demo was difficult. It is a real shame that Icon Audio don’t do a DAC, Audio-note are just too expensive and large. I was also tempted by the Sugden DAC but funds dictated a no, but never mind, "I am currently waiting for the delivery of the Chord Qutest maybe next time...this is a really DAC but based on demonstrations expect the set up to sound dangerous and expensive hobby. superb" says John Speight. I have put on my Christmas wish list the floor standing sound Next year I reckon it will be time with an SMEIV arm and – if he could absorption panels from GIK acoustics to look at new MC cartridges; my get one – a Denon DL304 cartridge; (www.Gikacoustics.co.uk), it will be current Ortofon is getting a lot of Expert Stylus and Cartridge Company interesting to see how these impact use :-) may be able to assist. the sound. Have you tried them out John Speight The plinth would be a Slateage – if so what were your findings? plinth system. This should appease I have also decided to end my Hi John. You will find your new EAR Mrs P! Slate age website:https://www. time with ripping music in my main 834P valve phono stage a great sonic slateage.com/hifi/ Expert Stylus system. I spent a long time ripping match into your system, ended by and Cartridge Company’s e-mail over 500 CDs to a VortexBox, Martin Logan Classic ESL9 hybrid [email protected] working out how to connect to electrostatic loudspeakers (that you I wouldn’t have thought that a a DAC, the internet via range forget to mention!). The ML’s big subwoofer would be required with the extenders over mains etc, then XStat electrostatic panels are almost La Scalas – as Noel said only if you downloading iPeng and finally getting horribly revealing and will confirm to want a better headache! What may be music to be heard. Anyway, now the you the quality of sound from valves. worth a try is to toe in the La Scalas, device is sitting on eBay and hopefully Lots of fun ahead! so they sit across the right angle of the will be shipped to someone who will We haven’t tried out GIK two walls. This may just augment bass get better use out of it than me. acoustics panels but this is a good enough. I also think I will give streaming way to go with rear-firing dipole Mike Bickley. a miss. Why? Firstly, the complexity. electrostatic panels. Just make sure Secondly, I find it extremely hard you move them around a bit – in Hi Mike. Yes, a Garrard 401 with SME to decide what to listen to, going other words experiment. Start out IV is going to offer most excitement. through the iPad to choose and end 1ft behind the panel. Move closer and The Garrard has pace and bass like up selecting the same old albums! you will hear them; move back and no other. It has a smidgeon of mid- With CDs and Records you look you will reach a sweet spot. Also try band hard colour from the big, cast through your collection, decide what angling at 45 degrees, left and right, alloy platter, unless a better platter to put on and then listen end-to-end. so as not to direct lower frequency mat is fitted, but that is seemingly I would say that overall, the quality is non-absorbed energy back through its main sin – and not a big one. In pretty good though and maybe in the the XStat panel. truth you can hear that is has less future I will re-consider. A big record collection has late- temporal precision than a Direct Last point. Would be good to get night ceremony, the album cover Drive but the rest of the 401’s sound system reviews in your publication. artwork being an experience you is so overwhelming this hardly seems I note that one of the competing can’t get by any other means. to matter. It would match Mark’s magazines does articles on dealer And finally please say something system but I felt a Timestep modified setups, which I think is a good start. about your sound if you can. I Technics SL-1200G with Rega or SME Challenge is that the articles are thought those big XStats deeply arm was on-balance (and arguably) too high-level and it would be nice dramatic. Tell us what you think. This better, or more simply a Rega P9. to have more in-depth stories. The is the exciting bit after all! NK But I would not disagree with your other would be articles on how you choice, having Garrard 401 in my take a system and slowly improve, MY SOLUTION DNA! through set up, changes to ancillaries Mark Pitchford’s dilemma in your A Denon DL304 moving coil etc. I recall one publication did this February 2019 edition Letters was an cartridge would not be my choice, as an on-going story and each month interesting one. Noel’s knowledge of but it is historically related in sound they introduced a change and then modern turntables is far superior to quality I guess – and much loved for determined impact, value-for-money mine. If it was left to me – yes, you’ve its sound: big powerful and spacious etc. guessed it – a well fettled Garrard 401 with no lack of confidence.

38 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk LETTERS & EMAILS

Large horns do not go low. The Tannoy Westminsters we reviewed in our November 2015 issue reached down to 60Hz. Worse, Mark Pitchford’s La Scalas were – his pics show – half way down a room, which is the worst position to drive it. Understandable then that deep bass was absent. A subwoofer is a solution but subwoofers of normal variety are not going to match into such a loudspeaker unless set up with a measuring microphone and spectrum analyser. Without such careful tuning you end up with an overpowered untuned bass system that’s just a sonic headache. “A well fettled Garrard 401 with a SMEIV arm and – if he could Thanks for your views though; I get one – a Denon DL304 cartridge, all in a Slateage plinth system know where you are coming from. NK should appease Mrs P!” says Mike Bickley about Mark Pitchford’s system (Letters February 2019 issue). QUEEN At the beginning of 2019, it is very The shake up was Punk and the if Freddie Mercury could be aware of interesting for me to muse upon the fact band I’m talking about are Queen... With the current state of play, he would be that after many album releases, through the extremely sad passing of their lead delighted that Queen are still wearing many decades, and after just about all singer in 1991, which could potentially his crown. 2029. Now who would bet of said releases, this particular band are have been the end of the band, (bearing against it... quoted as saying that they almost broke in mind that lead singer was the mighty Neil Porter. up. Every band member apparently quit Freddie Mercury, that is no crazy (behind closed doors) at some time or suggestion), if we jump forward to today, UK SKILLS another, only to rejoin the group (behind not too much seems to have changed. In a thought provoking piece in his closed doors again) and carry on Queen are still (and perhaps even “Opinion” column of the Feb.2019 regardless. When you have four painters more than ever), everywhere in 2019. edition: “The Far East leads...” Noel all painting on the same canvas, it can Musical theatre, currently touring explores two basic questions: (1) lack get a little uncomfortable, one band internationally. A new film, which has of electronics skills in UK, and (2) member was quoted as saying recently. been longed for by fans for what seems why large projects, especially UK Gov. In the early days, there was next to like an eternity. The music for every projects always go over time and over other advert on television, or budget. It made me think and I’d like to maybe it just seems that way, comment on both. and this from a band that said There are a few UK companies no to letting Sylvester Stallone that lead the world in Hi-Fi products, use Another One Bites the Dust but they are usually high-end (read as the theme tune for Rocky expensive) and niche (e.g. valves). For lll. Incidental music for many example Audio Note. I bought an Audio television shows. Appearing Note M6 pre-amp a couple of years many times on the countless ago. When I picked it up the owner lists of the top 10 or top of AN, Peter Qvortrup, gave me a 100 rock ‘n’ roll countdowns. factory tour. I saw the workstations of Books. Magazine front covers. technicians building circuits using high Deluxe re-releases of their quality discrete components, soldered, back catalogue. Tours. A pop up wired and tested by hand: technicians store in the centre of London. winding coils for the IO1 cartridge: “Queen are still (and perhaps even An intriguing 3D book/memoir. and even the vat of special wax used more than ever), everywhere in 2019” A website and forum in full to dip mains transformers to minimise flow and a seemingly endless vibration. All based on designs by Andy says Neil Porter. fascination with everything Grove. These require very specialist skills Queen. which, as Noel says, sadly, are not much no money, differences of opinion, shall And why on earth not. By the time in demand. we or shall we not continue as a band. I have pressed send on this communi- When I started out, 40 years ago, There may have even been a slightly cation it would not surprise me at all to I spent 3 years full-time at a Technical negative change in public appreciation learn that Queen had been victorious in College learning the skills to become of the band at one point and there was a vote to run the country or will have a Telecommunications & Electronics certainly a massive shake up of the been contacted by Elon Musk and are Technician. I went to work with my musical landscape due any moment, set to be whisked away to become the trusty ‘scope, Avo, and a fish-box of spare which you may have thought would not first band to play in space. Either way, components, seeking out failing resistors, have helped their long term cause. when all is said and done, I believe that caps, coils, diodes, valves and transistors

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 39 LETTERS & EMAILS

in radio transmitters, radars, mainframe computers, terminals and direction finders. All skills that are no longer required with todays disposable hi-fi and electronics. There was a time when every village hosted a TV repair man with such skills. Which raises the question: where do you learn about electronics today? Noel is right, we no longer have the skills in the UK. Hi-Fi World no longer has DIY supplement, on the cheap paper, in the middle as a pull-out. As Noel said in a "I bought an Audio Note M6 pre-amp a couple of years ago. When piece a few months ago, we no longer I picked it up the owner of AN, Peter Qvortrup, gave me a factory discuss hi-fi in technical terms and now tour" says Ted Martin. use more abstract or “soft” descriptions. How many readers today could explain the difference between Class A, A/B, B, A project is specified as a set tendered to all EU countries. And, the C, D amplifiers – the knowledge is no of tasks often drawn out as a set of Gov. purchasers, driven by politicians longer there. How many understand interconnected boxes (precedence always trot out the same-old “... we EMC interference and how to stop it? diagram) or arrows (arrow network). must have value for the UK taxpayer...” One of the last bastions of Estimates are draw up for each task mantra. This means, in practice, the electronic education is in Amateur Radio. of the time needed to complete, the cheapest quote will be selected. The Licence used to be run at colleges resources, and the cost. And each task is And so how do companies win the throughout the UK as a City & Guilds shown in relation to the one before and business? Well first they strip out the evening class. Today it’s administered the one after. For example you don’t Risk element and then the contingency, by the RSGB and run as three courses need to employ the bricklayers until you and then a little more “just for the pot”. [Foundation, Intermediate & Advanced] have foundations, so you don’t want to Hence right from the start the project is and taught by volunteers at local Radio buy the bricks before you need them. bound to overrun on time and cost. Clubs. It does give a basic understanding You don’t want plasterers until the walls Many companies use their Lobbyists and the RSGB does produce a number are built or buy the plaster (especially as to cosy up to the politicians and Civil of books to help develop the topic. But gypsum has a short useable shelf life!). Servants [“ we’ve got a nice little earner it is still fairly superficial and lightweight Now, for simplicity, assume each for you when you retire...” “fancy being with an almost complete lack of the task can finish either Early, On-time, or a Neddy ?”]. The objective is to discover detailed Maths which is needed to really Late. In fact Early doesn’t help much the cheapest quote so far. Then they understand the topic it’s hard to explain as you invariably can’t bring any other say the magic words to a politicians the difference between Frequency tasks forward. If the tasks are specified ears: “We’ll do it for 10% less” and the modulation and Phase modulation accurately then if you run a probability politician can announce an “amazingly

An Arcam Alpha 6 CD player. "My brother took it to a technician from Poland who had a small repair shop in a backstreet garage in Brussels. The fix cost 10 Euros and two years later it still runs perfectly" Ted Martin tells us.

without maths. analysis [often called a Monte-Carlo good deal for the taxpayer.” Of course, It’s easy to say this doesn’t matter Analysis] against the project plan, and if the winning company doesn’t really have and the skills are no longer needed but, the plan has more than 10 tasks, with a clue, no due diligence has been done, I would suggest, this is a slippery slope. equal probability of each task being but hey-woopy-do-dah they’ve won the Once we start to simplify and abandon either Early, On-time, or Late you will business and a win-bonus all round. areas of knowledge the whole of society find that there is a 99%(+) probability And then when the project starts to is diminished. And we lurch even further of the overall project finishing late and overrun the failing is hidden for as long towards a world governed by soundbites over budget. as possible before being greeted with and short attention spans. So, if we know the project will finish universal surprise when the contractor Which brings me to Noel’s second late and over budget, what’s the answer? demands a further bung of cash. interesting point: why do projects The answer is to add 25% Contingency And so the big questions leaping overrun. It’s a simple fact that all to all estimates (time & cost especially) from Noel’s piece is how do we get projects, and especially UK Gov. projects, and then a further 25% to cover the skills we need to regenerate our will go over time and over budget. Risk. And that of course is where the economy; where is the next generation Logically they cannot fail to do so, and problems start. of skilled technicians coming from? And I’ll explain why. All UK Gov. projects have to be how do we stop politicians and Civil

40 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk LETTERS & EMAILS

Servants (i.e. amateurs) from creating LPs if you can find them (I daresay the vanity projects which divert huge CDs, on various labels, are made from amounts of cash into white elephants? tapes some generations removed from Let’s spend the money on something the originals). useful like, for example, developing Kind regards, high quality technical skills in the next Mark Hodgson generations. And one final and true story. My SOUNDS OF THE 70S brother, who lives in Belgium, had an A huge thank you to you and Paul Rigby Arcam Alpha 6 CD player with a fault. for the Fotheringay item in your January He took it to his main dealer who said 2019 issue. I was a student in London it can’t be fixed and offered him 10% in 1970 and was lucky to see and hear off a new player. He took it to another Fotheringay on ‘the student gig’ circuit. dealer – same story. Then, on the advice "Decca remastered much of Their music has stayed with me all my of a friend, he took it to a technician life and I have regularly listened to the their back catalogue in the from Poland who had a small repair original vinyl LP, and the later CD. I have ‘70s; these can be shop in a backstreet garage in Brussels. bought the new LP but I would love distinguished by the Decca The fix cost 10 Euros and two years to have an SACD or a high definition logo on the label being rect- later it still runs perfectly. download of the original studio tapes! I angular rather than a quarter The moral here is that in Poland rate the Fotheringay album and Fairport they don’t have the same throw-away moon" says Mark Hodgson. Convention ‘Liege and Lief’ as the twin consumer economy; they don’t have the peaks of British electric folk. ‘The Sea’ same incomes or lifestyle; and so they THE DAYS OF DECCA is one of my favourite songs and I have still have technicians who understand I share your correspondent Mike probably played it more than any other how hi-fi works and can fix things. But Buckley’s love (letters, Feb) of Decca/ song over the years. It is a song about then, if we all learned to fix things how Argo LPs from the ‘60s. Decca worked rising sea levels, written back in 1970 (or would companies survive, and how on submarine detection in WW2, earlier) and in the form of a riddle. It is would their Chief Execs. justify their subsequently launching “full frequency a true, and haunting, classic. In just a few huge annual bonus? range recording” on 78s. poetic words she infers that the rise in sea Best regards, LP was launched in the US by levels since the last ice age, ‘the coming of Ted Martin Columbia in 1948, and in the UK by the sea’, are part of human ‘folk memory’ Decca in 1950. Because of the slower and we should be concerned. The words Hi Ted – and wow! That is one big rotational speed, higher frequencies were are available via Google. appraisal – with I believe a lot of rude less bright, so around the mid-’50s Decca truth in it. Thank you very much for adopted half-speed mastering; this led to your views. criticism that the bass was less apparent, Everyone has – and now so in the early stereo era (late ‘50s/ expects to have – a mobile phone, early’60s) they abandoned their purist computer, iPad and what have you. microphone setup (a stereo pair) to put a None are produced in the UK. A ‘spot mike’ on the timpani, and area ones Hong Kong University lecturer told on the basses and ‘cellos. me that primary school children Also in this period, they edited the there are introduced to the subject master tape, not a copy, before mastering, of electronics through toys and e.g. on Solti’s Wagner “Ring” cycle (1958- it is woven into the educational 65), leaving much repair work (due to curriculum. For this reason perhaps stretching and breaks) for later engineers (if it is so) all the gadgets we use digitising the recordings for CD reissue. are made in the Far East. There has Still in pursuit of perfection, and not "Jerry Donahue from Fotheringay to be some identifiable reason that satisfied with their early stereo cutting went on to become one of the most Britain lacks skills that now underpin heads, they remastered much of their influential Fender Telecaster players the world’s largest companies, from back catalogue in the ‘70s; these can ever" Mike Tartaglia Kershaw notes. Apple through to Foxconn. Most be distinguished by the Decca logo on depressing of all though is that there the label being rectangular rather than However, I am disappointed that Paul is no recognition of our failure a “quarter moon”. Some audiophiles spent so many words on the Sandy Denny here. Complacency reigns. There may disagree, but I think these sound / John Peel ‘interview’. He could have is a stubborn refusal to put basic (marginally) better, and I daresay this told us instead that, for example, Jerry electricity/electronics into UK school admirable dedication to excellence Donahue from Fotheringay went on to curriculums for example, to promote contributed to the company’s demise and become one of the most influential Fender interest and provide an overview takeover by Polygram (now Universal) Telecaster players ever, including recording understanding. It can be both simple c1979. a solo album called ‘Telecasting Recast’ and quick to teach the basics. Maplin Final point: from 1957-67, American (1998). He was once labelled ‘’the string- used to stock a range of educational RCA recordings in the UK and Europe bending king of the planet’’. And of course kits but sadly that has all gone too. were made (and mostly distributed) whole books have been written about If you are in this educational by Decca in the UK, including (though Sandy Denny. What more is there to say? sphere and would like to comment not for distribution) the mail order She will always be one of the best ever. – including disagree! – do please e- subscription series for Reader’s Digest, Best wishes, mail us at [email protected]. NK which sound much better on the original Mike Tartaglia Kershaw

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 41 REVIEW

Joining the M-Two Movement... Martin Pipe explores a capable duo from the revitalised Musical Fidelity marque.

ecently and with little reviewed here – the M2si integrated The new M2si amplifier is purely publicity, Musical Fidelity amplifier and M2SCD CD player – analogue, with no onboard DAC was acquired by Austrian feature a prominent ‘Austrian Brand’ for digital sources. Oddly – given turntable specialist Pro- message. The M2s are the entry-level the new owner’s passion for vinyl Ject. Maybe that’s why the options of an M-series that go all the – there’s no phono stage either. In all Rcartons of their products way to ‘no compromise’ M8 products. fairness, you’ll get better results from 42 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk REVIEW

"can deliver music in a manner that does not in any way shame Musical Fidelity’s enviable heritage."

a decent off-board pre-amp than you would from a cheap circuit thrown in to boost the feature count and I review a suitable contender – funnily enough, Pro-Ject’s Phono Box S2 Ultra – elsewhere in this issue. In all, the no-nonsense M2si is equipped with six unbalanced line-level inputs, on rear-panel phono sockets. A blue LED indicator indicates the one that’s selected, either with the button underneath or the remote control (which will also adjust volume). Promisingly, one of the inputs is marked ‘Tape’. However, that’s all it is – just another input; it’s not the ‘tape monitor’ of a genuine tape loop, although the M2Si does dedicate a fixed line-level output so that the selected source can be fed to a recording device. Next to this fixed output is ‘pre out’, which is subject to the actions of the volume control, allowing the use of an alternative power amplifier. The M2Si doesn’t have tone controls, or any similar circuitry to potentially- On the unusually-shaped preamp daughterboard of M2si lives the preamp muddy music. and source selector. Its output passes, via the motorised pot that is the vol- The only other feature of note ume control (there’s a Burr-Brown digitally-controlled volume control chip is the M2Si’s ability to dovetail with too), to the power amp section that dominates the right-hand side of the audio-visual cinema gear, enabling interior, with heatsinks needed to cool the output transistors. your amp and speakers to reproduce

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 43 REVIEW

Musical Fidelity has endowed the M2si’s rear panel with six analogue line inputs, but the tape input lacks a ‘proper’ tape monitor function. Only one pair of speakers are covered by the fitted terminals – that accept bare wire or 4mm banana plugs.

The remote the all-important front are also provided for external DACs, Lubman, Harmonia Mundi). supplied is a channels. A switch providing an upgrade path. We’re not talking about partic- rather dated- on the rear panel ularly-expensive equipment here, looking affair. bypasses the volume PERFORMANCE and so it’s a credit to the company's control when one of The pair gave a decent account of design team that the Radiohead However, it the inputs is selected. themselves – I tried two sets of track’s complex production sounds will operate To this would be speakers, Quadral Aurum Wotan uncluttered and correctly-propor- both amplifier connected your home- VIIIs and – to represent a more tioned. The Reich work, meanwhile, and CD player cinema gear, which compatible price-point – Rogers was given urgency and ‘flow’ (as well as usually has its own GS5s. QED X-Tube speaker responsible for its unique character some other volume control. cabling was used, in a conventional – the music washes over you in MF prod- The amplifier's ‘monowire’ arrangement. Both sets a compelling and enjoyable way. ucts). Most 60 watts per channel of speakers were driven more than Another great musical character is of the higher (into 8 ohms) power satisfactorily, and grip was never lost; Johnny Cash, whose closely-miked CD-related amps are of Class in all, the M2si has a tight and dry baritone in The Man Comes Around functions are AB design; tis is not sound. Kraftwerk – notably the track (American IV) is conveyed with accessible a budget Class D Etape 2 – revealed that the system is its emotional charge intact. He’s only via the amplifier. They connect fast and rhythmically-compliant, which accompanied by guitars, bass piano remote. to your speakers via has the effect of naturally-engaging and – way back in the mix – organ. sturdy pairs of rear- the listener. For this reason, it also The Musical Fidelity system can panel terminals. The M2Si makes no succeeded with Radiohead’s Burn comfortably-resolve these elements, provision for headphones. The Witch (from A Moon Shaped without undue bias or exaggeration. The M2SCD CD player is as no- Pool) and Steve Reich’s Music for I also enjoyed a 1987 digital nonsense as its companion amplifier. 18 Musicians (Ensemble Signal/Brad recording of Mussorgsky’s Pictures at It offers none of the features – MP3 compatibility, network streaming or DAC mode – that so many manufacturers deem necessary these days. Discs are loaded into a front- panel slot, rather than a tray, which precludes playback of certain discs – like the 3in. CD singles of the late 1980s, certainly if an adaptor isn’t being used. However, audio-format (i.e. Red Book) CDs on CD-R or CD-RW media are accepted. A row of basic controls are positioned beneath the player’s LCD screen, which is capable of displaying CD-Text data as well as the usual numerical information. The remote that drives the M2Si will also control the M2SCD and it’s necessary to access more advanced playback functions such as intro-scan, shuffle, programmed playback, repeat, track- scan and section repeat. You can also dim the display backlighting, for late- night listening. Above the slot-loading CD drive is a ‘Blue Tiger’ board, bought in from The rear panel of the player Asian Philips offshoot Stream Unlimited, that controls its laser and is equipped with phono-socket motors in addition to providing most of the other core functionality of a (unbalanced) analogue outputs. CD player. The top boards contain the DAC and linear power supply with Optical and coaxial digital outputs toroidal mains transformer.

44 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk REVIEW

Old-school connectivity from the M2SCD – no Ethernet or USB ports here! The player has analogue unbalanced phonos (no balanced XLRs) to feed amplifiers like the M2si directly. Standard optical and coaxial S/PDIF digital outputs will feed an external DAC. an Exhibition (Slovak Philharmonic/ DAC provisions of the M2SCD – a worked very well together, and Daniel Nazareth, Naxos), and took 24-bit delta-sigma dual-differential – with appropriate speakers, installed great pleasure by being able to define configuration with 8x oversampling, correctly – can deliver music in a specific orchestral textures. the company say – acquits itself manner that does not in any way A tad more clarity – across the surprisingly well. And that you can shame Musical Fidelity’s enviable board – is exposed through direct hear the difference with an amp that heritage. This duo is quite old- comparison with a Chord Qutest is modest by high-end standards fashioned in outlook, with no direct DAC (£1200) that was inserted deserves praise. concessions to streaming or for that between one of the M2SCD’s digital matter the vinyl revival. Such bases outputs and a spare auxiliary input CONCLUSION are however covered via the multiple on the M2Si. But in all fairness, the As a system, the M2SCD and M2Si line inputs.

MEASURED PERFORMANCE M2si AMPLIFIER analysis shows – a normal result for CD. standard. There are no balanced XLR- The M2si integrated amplifier produced Distortion at peak level (0dB) socket outputs nor a headphone output or 78 Watts into 8 Ohms and 132 Watts into measured 0.001% but at -60dB, 0.23% as adjustable output level. 4 Ohms, enough to go very loud with all our analysis shows. This is close to the The M2sCD produced good loudspeakers. 0.2% possible, set by 16bit quantisation if standard CD performance under Distortion levels were low at both noise and harmonic distortion from CD, measurement. NK low and high outputs at all frequencies, resulting in an EIAJ Dynamic Range value the critical 1W/10kHz value – a measure of 100dB – close to the 102dB possible. Frequency response 4Hz- 21kHz of crossover distortion – coming in at a Noise is low at -113dB but this is Distortion ( -60dB) 0.26% very low 0.01% our analysis shows. In due to infinity-zero muting; noise with a - Separation 95dB Dynamic range 98dB the midband (1kHz) distortion measured 60dB tone notched out measured -100dB. Noise -113dB 0.003% at 1 W and 0.004% just below full Output measured 2V, right on CD Headphone output none output. With a high damping factor of 60 MUSICAL FIDELITY M2si MUSICAL FIDELITY M2sCD MUSICAL FIDELITY the M2 is will sound powerful but tight M2SCD AND M2SI and very clean. FREQUENCY RESPONSE FREQUENCY RESPONSE £799 EACH Input sensitivity was just 200mV, meaning the amplifier will work well with £ low output external phono stages for EXCELLENT - extremely those who want to spin LP. There is no capable. internal phono stage, nor a digital input. Frequency response measured flat VALUE - keenly priced. from 6Hz to 53kHz, unaffected by volume VERDICT control position. A worthwhile combo, The M2si produced a fine set of especially if your primary results. It is a very low distortion design music source is the humble with plenty enough power for most DISTORTION DISTORTION CD. And it’s free of hassle. systems and homes. NK FOR - six line inputs Power 78W - revealing yet musical sound Frequency response (-1dB) 6Hz-53kHz - ease of use Distortion (10kHz, 1W) 0.01% - remote control Separation (1kHz) 92dB Noise (IEC A) -87dB AGAINST Sensitivity 200mV - no XLR in/out Damping factor 60 - no USB in - no phono stage M2sCDCD PLAYER Henley Audio Frequency response of the M2sCD +44 (0)1235 511166 CD player measured flat to 21kHz our www.henleyaudio.co.uk

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 45 EVO3 Initium

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50453 - Cable A4 Advert PRINT.indd 1 21/05/2018 15:43 REVIEW

Mini Marvel Samsung's new AKG VL5 one-box loudspeaker and amplifier offers outstanding value for the price, finds Jon Myles.

ne box loudspeaker As ever these days there's also with headphone and microphone and amplifier units are a free application (Android and specialists AKG. becoming ever more Apple) available for download that Power comes from a supplied popular. They offer some is an easier way to control the VL5. outboard unit – which is where great benefits – not However, the so-called SmartThings the sleek looks of this unit take a least of which is the app can take a bit of getting used to, dip. Finished in bright white with a convenienceO of being able to con- as it can also control almost every chequered-pattern lead it doesn't nect via a mobile ‘phone, tablet or product Samsung makes (fridges, match the VL5 in terms of overall even to plug in an auxiliary source cookers heating controls etc). design, appearing incongruous. That such as a CD player, with the cor- Having none of these I headed said most people will likely hide this rect cables. straight to the AV option that unit behind furniture so it probably And this is exactly what the new allowed me to select between won't be that much of a problem. Samsung VL5 offers: simple musical Bluetooth, wi-fi or auxiliary inputs. convenience. It is a handsomely- Inside, the Samsung has three SOUND QUALITY finished unit featuring a wooden mid/bass units and two tweeters A big plus to the Samsung is that surround, touch controls on the top allied to a Class D amplifier its sound has a solid presence. and sides, plus a handy circular puck module – and the whole package Playing John Campbell’s ‘Way Down remote control. has been voiced in conjunction In The Hole’ via Bluetooth from

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 47

REVIEW

guitar work – coming across with excellent bite and good high- frequency definition. For such a small unit the Samsung threw out a surprisingly wide soundstage, images established well to the left and right of the enclosure. With Pink Floyd's 'Dark Side Of The Moon' the full panning effects could be heard as a result. Every time I tried to trip it up the VL5 surprised me – even with the Jesus And Mary Chain's feedback- drenched 'You Trip Me Up' where the guitars stood tall instead of collapsing into themselves. Nor did the bass on James Blake's 'Limit To Your Love' – a test of almost any loudspeaker – sound too weak. Admittedly, you will not an iPhone X his vocals came over to replicate. Through the VL5 it had get the sub-sonic power a large with presence and a great sense of both a rich sense of atmosphere floorstander can provide but the realism. and superb separation between VL5 never sounded less than beefy The bass guitar also had real slam instruments – guitar, drums and bass and always made me want to to it – which belied the slim size of the cabinet. "superb rhythmic ability make it I was particularly taken by how much detail the Samsung a delight to listen to"

all came across in their own space. continue listening. While the scale wasn't up to that of On the downside the a separates system there was little SmartThings app is over-complicated sense of anything missing. Indeed, but that's hardly a deal breaker. And, pushing the volume control from if you have other Samsung products, the app upward to near its limit via it could be something of a bonus. the wi-fi connection there was a room-filling sound. CONCLUSION The longer I listened the more This is one of the more refined one- impressed I became with the sound box loudspeaker/amplifier models on of the Samsung. Led Zeppelin's the market at present. 'Whole Lotta Love' played via an Good bass extension together Oppo UDP-205 universal disc player with a smooth midband and superb SAMSUNG AKG into the Aux input had plenty of rhythmic ability make it a delight to VL5 WIRELESS punch to it. Robert Plant's vocals listen to. Its looks and finish also add SMART SPEAKER Underneath is a detachable were distinct as was Jimmy Page's to the overall appeal. £599.00 plate that allows acces to the power input and other £ functions. OUTSTANDING - amongst the best. could reveal. With Nils Lofgren's VALUE - keenly priced 'Keith Don't Go' his fret-work was sparkling, coming across with VERDICT no lack of power. At the higher An excellent compact all-in- registers this compact loudspeaker one loudspeaker/amp that may lack some delicacy but it covers is easy to use and superbly built. its tracks well. Not once did I feel things were compressed or hard FOR feeling – instead the music flowed - sound with good toe-tapping rhythm. - flexibilty The overall quality of the unit - build quality was well conveyed when playing AGAINST the live version of Hugh Masekela's - app can be confusing 'Stimela'. Play this on a set of separate components and it has an Samsung UK +44 (0) 330 7267864 eerily uplifting quality – something I A small puck remote control unit makes controlllng the Samsung www.samsung.com/uk thought the Samsung would struggle easy from the armchair.

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DPS - January 2019 - Second Edit.indd 2 01/02/2019 15:27:16 REVIEW The Art Of Atlas Jon Myles reviews the latest state-of-art Asimi loudspeaker and interconnect cable from Atlas.

fter long discussions wound in air-filled cotton before colour. It certainly looked cool about cables with Kevin being wrapped in a microporous – but how does it sound? Kelly, MD of Atlas Cables, PTFE tape. All six insulated strands I visited their factory and are then twisted together at the ideal SOUND QUALITY was invited to review tension to quell microphony without Inserted between a pair of our their new flagship loud- expelling the air. resident Martin Logan ESL-X electro- Aspeaker cable, the Asimi – a cable It sounds complicated and it is static loudspeakers and a Naim aimed firmly at the high-end. Price is a lengthy process. Added to this the Supernait 2 amplifier the sheer £6600 per metre. To understand why, conductor ends are screened with an resolution of the Asimis became clear you only have to look at its construc- alloy/mylar foil and tin-plated OFC with the Grunt cable connected to a tion. While most cables use 99.999 braid, terminated at the amplifier- free RCA input. per cent oxygen free copper, some- end of the cable with a flying Grun Some listeners associate silver times plated with silver, Atlas have connector. loudspeaker cables with a degree gone the whole hog. You can also choose from 4mm of hardness but Atlas have avoided The Asimi not only uses solid connectors, spade and Z-plugs to this. The plucked guitar on Antonio 6N-purity silver but the strands suit your equipment. Our example Forcione’s ‘Meet Me In London’ had are OCC-drawn using a heated die used standard RCAs but also came improved delicacy and a little extra to create one long crystal with no sheathed in Atlas’s stitched leather bite. Instruments came to the fore grain boundaries. There are six silver sleeve. These are produced by a with enhanced clarity. strands per conductor arranged specialist manufacturer in Scotland Delving a little deeper I tried The in three pairs. Each strand is then - and you can even specify your own Clash’s ‘London Calling’ where Paul

52 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk REVIEW

Simonon’s bass had sufficient weight but a little more subtlety about it. "The plucked guitar on Antonio These cables are adept at bringing The Art Of Atlas out nuances in music that can often Forcione’s ‘Meet Me In London’ lay hidden. Dynamics and subtle shadings were laid bare but not in an had improved delicacy and a little overt, sharp way. So with Nick Cave’s ‘Where extra bite. Instruments came to The Wild Roses Grow’ the piano the fore with enhanced clarity"

was sweet but still carried sufficient grain boundaries. The Grun system menace. An enthralling performance. is incorporated and they are again sheathed in hand-stitched leather. ASIMI LUXE INTERCONNECTS Plugging these into the existing The Asimi loudspeaker cables are system added something again. not the only Atlas product to benefit Admittedly the gains were not quite from Atlas’s new and unique topology. as distinct as with the ’speaker cables There’s also their Luxe interconnects. but the soundstage became a little Again these use solid 6N-purity wider with a definite increase in bass silver OCC-drawn using a heated die weight and top-end definition. to create one long crystal with no Most noticeable was where the

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 53 Simplicity at its best.

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shimmering guitars on The Pixies’ the rest of the track - with the Listening to BBC Radio 4 I ‘Into The White’ coalesced together. backing instruments holding their couldn't help but notice just how Instead of becoming one squall of own scale in the overall sound. rich the tones of presenters were sound I could hear two distinct Switching from the Martin Logan - each taking on a stronger sense of instruments - one playing the melody, to a pair of standmount Spendor individuality and presence. the other the lead line. It’s a subtle A1s the two Asimi cables worked change but one for the better and together to provide a seamless and CONCLUSION helped bring the track to life in an smooth presentation. I couldn't help The Atlas Asimis are expensive but impressive way. Furthermore, drums but be impressed by just how the they are superbly constructed and, and bass took on more presence, guitars on Lynyrd Skynyrd's 'Free most importantly, have a gravitas few each having a depth and clarity that Bird' came across. The interplay of others can match. They impose little came to the fore. the guitars was excellent - but most of their own character on the system It all coalesced when listening importantly there was a rapid feel and allow the music to flow freely. to Billy Mackenzie’s voice on ‘Party to the music and real depth to the The bespoke leather sheath is Fears Two’ by The Associates. His sound. Even the applause at the also something not seen elsewhere baritone voice had a richer timbre to start and end of the track sounded and adds to the luxury feel. Plug it - seeming to dig a little deeper into realistic - not something all cables these into your system and you will the register. Yet it did not dominate can manage. definitely hear a difference.

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FOR - silver conductors - unique construction - grounding system

The picturesque town of Kilmarnock, Scotland, is where AGAINST Atlas has its base. Crucially, they told me, there is no sol- - not cheap dering involved with their cables – MD Kevin Kelly firmly believes adding different materials adds a filter to the ATLAS ASIMI LUXE sound flow. They are INTERCONNECT crimped instead. CABLE Kevin is always FROM £2950 looking at new materials and construction techniques. OUTSTANDING - amongst One of the latest the best is the Grun coherent earthing system VERDICT designed to combat Builds on the qualities of the the low levels of EMI Asimi loudspeaker cables but (electro-magnetic adds a little extra. interference) and noise on the signal FOR ground which can - OCC silver conductors - grounding ability subtly modulate and - leather sheaf degrade the overall noise levels of the system. It earths the loudspeaker lead by attaching to an unused RCA AGAINST socket on the amplifier. - best with Asimi ’speaker Attaching the Grun lead to a pair of Atlas’s flagship cables Asimi loudspeaker cables the noise floor dropped and instruments were projected much further into the room. Atlas Cables Kevin Kelly, the Managing Director of Atlas Acoustic guitars took on a richer timbre while the whole +44 (0)1563 572666 sound had better musical tone. It works well. JM Cables, inspects the latest products. www.atlascables.com

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Send this form to: Hi-Fi World, Subscriptions Department Unit 4 College Road, Business Park, College Road North, Aston Clinton HP22 5EZ OLDE WORLDE Dream Machine This month, Martin Pipe examines a mid-1990s pro-grade DAC from British manufacturer Prism Sound.

professional ADC that companies fed this boom by reissuing Naturally, a fine ADC needs a gained critical acclaim older albums remastered for the fine DAC for session playback. In from the recording indus- new format. Prism’s first product, 1995, Prism Sound launched to this try was the AD-1 from the ‘Dream’ AD-1 16/20-bit ADC, end the similarly grey-fronted Dream Prism Sound, a company became the “product of choice for DA-1 – as featured here. According founded in 1987 by two the most critical users”. to Graham Boswell, this £3k (in Aelectronics engineers who shared “a Genesis may have bought AD-1s 1996) DAC was “the companion to lifelong passion for audio”. Graham for its studio, The Farm, to digitise the AD-1 and AD-124 units, designed Boswell and Ian Dennis met in the master tapes of their famous with live-to-stereo recording (and 1981 while working on digital sig- back-catalogue – but these magic monitoring & editing) as well as nal processing (DSP) technology at boxes weren’t just being used for mastering in mind”. The DA-1 is, like Rupert Neve, the world-renowned rock and pop. Classical producers the ADC, designed for mounting in a Cambridge mixing-desk manufacturer. wanted the very best resolution for 19in. rack and makes no pretentions We now take DSP for granted, but in their new CD releases. The list of to domesticity. Some might call it the early eighties it was cutting-edge labels that chose Prism converters ugly, but to my mind industrial would stuff. included Chandos, Deutsche be a fairer description. To me, the Six years later, Prism did the Grammophon and Linn. Users of the extensive connectivity that you’ll find

The Dream DA-1 employed four TDA1547 Bitstream DAC chips – described by maker Philips as ‘dual top-performance’ devices – in a parallel, balanced architecture for better signal-to-noise ratio and improved distortion.

opposite of what high-tech firms AD-1 (and its follow-up, the AD-124) on the DA-1’s rear panel gives you tend to do these days - they were apparently impressed by the some idea of the type of user it’s switched focus from consulting to “amazing low-level detail evident aimed at. the development and manufacture of between takes...when the musicians The only analogue outputs are products. Professional audio was to had gone to lunch and all that could balanced XLRs, an industry-standard be its focus; not only did its founders be heard was birds singing outside”. connection in the pro-audio world share a passion for high-quality These low level sounds, Prism claim, where reliability and performance are sound, but there was an enormous “could not be captured with the crucial. XLRs are now appearing on public appetite for CDs. Record earlier generation of ADCs”. even modestly-priced hi-fi amps so

58 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk OLDE WORLDE

home users "very good”. can now try pro Similar basic gear like the DA-1. techniques, The DA-1, which will funnily enough, work with 16-bit and 20-bit sources, were used to achieve has no fewer than seven inputs. In HDCD’s 20-bit effective addition to three AES-EBU balanced observed resolution. inputs are coaxial and optical S/PDIF that careful use Unlike HDCD, ports, which are about as close to of non-linear coding though, Prism’s DRE the world of consumer gear as the at higher levels could extend was not designed for DA-1 gets. The two remaining inputs the headroom at the expense backwards-compatibility, are the complete opposite; these of small increases in distortion for as Boswell admits; DRE are three-socket SDIF (Sony Digital the highest transients”. The DRE material “was not intended to be InterFace) connections intended for system, Boswell explained to me, used undecoded...it could be played, use with PCM1630, an archaic piece enabled studios to take advantage but would it would be very loud of studio equipment that recorded “of standard 16 bit DAT and CD and distorted”. Engaging DRE with 16-bit PCM onto a U-Matic video recorders, rather than the very ‘regular’ CD material yields a terrible cassette. much more expensive NAGRA-D sound, too. With regular CD (and There are also optical, coaxial, machines”. CD-derived) material, though, the S/DIF and two AES/EBU digital “At that time”, Boswell says, DA-1 can be revelatory. Remember outputs – and their purpose is “the improvement in low-level that a studio DAC must show the interesting. They provide the same data as present on the selected digital input, translated into the appropriate format. However, any incoming jitter is “filtered off”; Prism understood the damaging effects of jitter at an early stage. In other words, the DA-1 is not only a unit able to provide “digital to analogue conversion without sampling jitter or data truncation, regardless of the source’s resolution or timing, but it’s a digital audio The DA-1 was designed for constant professional use and reliability was of utmost format converter, performance. It is a packed and complex design, as this picture shows. corrector and de- jitterer too. Pretty flexible stuff, then. performance that was achieved by music being fed into it as it is, Another interesting feature, pushing the low end of the converter warts and all. The sound delivered albeit one unlikely to find use outside range down, in both the ranging by the DA-1 is incredibly-detailed of a recording studio equipped with analogue-to-digital architecture for 16-bit, and can be defined by Prism, is accessed with a press of and the DRE encoding system, its utter transparency and freedom the front-panel ‘DRE’ (Dynamic was considered well worth the from colouration – regardless of Range Enhancement) button. DRE, compromise...we had great success the music you care to put through Boswell told me, was “designed for with the AD-1/AD-124 as a result. it. The same philosophy can be professional use...it provided a means Lots of people loved these ADCs, found in later models – including of achieving higher dynamic range but comparatively few used the DRE the superb £1,500 Callia DAC/ from 16 bit media. At Prism, we had - which in our view was actually headphone amplifier that marked

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 59 Auralic G1 & G2 A5 Nov Update AW.indd 2 02/11/2018 15:46

60 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk OLDE WORLDE

British Grove Studios, owned by Dire Straits guitarist Mark Knopfler (on the left, alongside studio staff), has spent “more than £100,000 on its (approx. 24) Prism Sound ADA-8XR converters”. On the day Prism visited British Grove for the PR shoot responsible for this pic, Knopfler said that he spent such large sums of money because “they (the ADA-8XRs) are better!” Prism co-founder Graham Boswell is at the back of the room, with some of his converters.

Prism’s entry into the hi-fi market. noise ratio and improved distortion”. major clients like “Abbey Road, Expensive pro gear never sells Instead of the DA-1’s off-the-shelf Metropolis Mastering, Sterling Sound, in the same quantities as consumer Yamaha filter, though, the DA-2’s Precision Mastering and - I think - products, and Boswell revealed that was implemented in DSP within an British Grove”. If Boswell’s memory “about 200” DA-1s were made FPGA/DSP that could cope with serves him, “experienced people before the model was replaced higher sample rates (96kHz, against like Tony Cousins at Metropolis still by the DA-2. The latter “used the the DA-1’s 48kHz). The DA-1 is regard it as a reference unit”. The same (Philips TDA1547) converters, incredibly complex inside, its slim DA-1, which will work with 16-bit

There are no unbalanced outputs on phono sockets of the DA-1. Instead, the outputs are professional balanced XLRs. Three AES-EBU balanced digital inputs are fitted, plus optical and coaxial and an S/PDIF input – for Sony PCM1630 processors of the sort that were fairly commonplace in 1980s studios. architecture and the same analogue frame being packed with components. and 20-bit sources, has no fewer circuitry...we made around 250 DA- Most contemporary consumer than six inputs. They are ‘cycled’ 2s, which were last listed at £6995”. DACs were much simpler, but then through with a front-panel button Thanks to the small production runs, again they didn’t have to do as much – no remote here! To save time, finding used DA-1s or DA-2s is, as – and could rely on off-the-shelf inputs that aren’t required can be Boswell admits, “like looking for the components. It’s amazing the DA-1 is disabled. In addition to three AES- proverbial rockin-horse s**t, as the so transparent... EBU balanced inputs are coaxial and people that have them generally hang Although recording studios, optical S/PDIF ports, which are about on to them”. broadcasters and other professional to close to the world of consumer Both DA-1 and DA-2 employed users were the primary users, Prism gear as the DA-1 gets. The remaining the same parallel, balanced did sell a few to audiophiles - Boswell input – an entirely professional architecture, in which “certain key remembers a “dentist buying one, proposition – is a three-socket SDIF low-order harmonic distortion after a late-1990s hi-fi show in New (Sony Digital InterFace) connection products would tend to cancel in York”. Quite a few were sold to intended for use with PCM1630, an the two halves of the balanced DAC Chinese audiophiles too. Boswell also archaic piece of studio equipment arrangement...the benefits of the recalls that the DA-1 was used as a that recorded 16-bit PCM onto a U- architecture were better signal-to- reference DAC for many years by Matic video cassette.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 61 AUDIOPHILE CD

e offered a combina- first time. Also available within the tion of soul and pop box is a DVD of eighteen promo with an extended tal- videos plus a thirty-six page book. ent. Although he sang Then came the jaunty ‘Love of many covers, he also wrote a fair the Common People’ and, finally, amountH of his own material. Many his third attempt, which hit No.1, of you will have come across Paul ‘Wherever I Lay My Hat (That’s Young before you even knew he My Home)’. existed. I thoroughly enjoyed the The concept is good, so is 1978 novelty hit, ‘Toast’ from his the packaging and the content group, the Streetband. He pulled – but what of the sound quality? a few of those band members to Playing ‘Love of the Common form a Motown-type outfit, the People’ I was impressed by the Q-Tips. Signing up to CBS turned sheer breadth of the soundstage his head to his own solo poten- on this hit single, exhibiting tial. This lead to his first solo out- backing vocals far left and right. ing, which appears in this set, ‘Iron Mids are clean, clear and detailed PAUL YOUNG Out the Rough Spots’. but relatively balanced in terms This collection of singles of compression. The latter does features nineteen facsimile replica exist (these are singles, after all CDs, stored in a slipcase box and singles are notorious for a plus a signed A4 Print. That’s 108 compressive presentation) to tracks, including every b-side and an extent but it’s restrained and The CBS Singles Collection 1982-1994 alternative mix. How thorough tends to add a touch of focus is this set? Well, many of these which can be heard on the Edsel tracks are available on CD for the punchy percussive bass. AUDIOPHILE CD

bit of a weird one, Originally released in 1981 this. Mostly because on the Waterhouse label, half of of the name of the the album was penned by band group itself, it’s evo- members Rob Quist and Kurt lution and how it’s viewed now by Bergeron with the Quist-penned fansA and followers. Initially known single ‘The Shoe's on the Other as the Mission Mountain Wood Foot Tonight’ becoming a signature Band, this bluegrass/country rock tune. outfit were also known as M2WB. The tone and presentation of Hitting the scene in 1971, they the album could be described as a were multi-instrumental talents bit on the thin side with much of keen on a multi-part harmony or the musical information living in two - and very nice it was, I might the midrange and upper bass areas. add. After releasing two albums, the This gives the music a light and original band split and a reformed airy feeling, fleet of foot you might outfit replaced it known as The say too. It also betrays a strident Montana Band, releasing this very approach during crescendos, within album. Then tragedy struck: two of high pitched guitar sections and the original M2WB band members, saxophone solos. MONTANA three newer The Montana Band Musically, the album moves in members plus the sound manager Eagles circles with lazy country were killed in a plane crash. Pilot rock vibes and an approachable error was blamed as ten people lead vocal style with easy going lost their lives. The surviving band harmonic vocal backing with Change in the Weather members, according to reports, a distinctly adult-oriented Angel Air then apparently reformed as arrangement made for US-based Montana. AOR FM stations of the time.

62 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk AUDIOPHILE CD

ronted by keyboard Driven Thing, Harry Nilsson, etc) wizard, Dave Greenslade, appearing on violin. the band Greenslade I list the line-up to emphasise was created from the just how talented this group was remnants of another prog group, - an aspect of Greenslade that is ColosseumF with the help of the bass- often overlooked. Too often the band ist, Tony Reeves. In fact, Greenslade is dismissed as ‘mere prog’ with a was a two-keyboard group with ex- wave of the hand. They were a solid Episode Six keys man, Dave Lawson, creative machine. drafted in. Mellotrons swamped their You could make a case for this early work as their music explored album being the creative peak of rock but also some blues and jazz the group, but I’d also add balance. with delicious harmonies and coun- Balance in terms of instrumental terpoint melodies poking their heads finesse but also hard edged music into the mix. You’d often find Lawson presentation. singing his little heart out and playing In terms of the mastering, I was flute - so Greenslade certainly got his very happy with the overall job and money from that job recruit! a commendation should be awarded Andrew McCulloch was brought to Esoteric on this one. The sense of in from King Crimson and then, tonal balance for a CD is there to GREENSLADE before this, the group’s third album hear in all its glory. There’s a slight was released, the band expanded compression lurking but, on the once more to add Dave Clempson hole, also a mature and rich suite of who have previously played with mids that blend well with a bass that Humble Pie. He took the guitar sits nicely in the mix. A superb CD Spyglass Guest duties with Graham Smith (ex-String release. Esoteric AUDIOPHILE CD

’ve been watching a few Peel who discovered the musician vintage episodes of ‘Top which lead to Jones attending one of the Pops’ via BBC of Peel’s famous radio sessions and TV’s BBC Four. The time grabbing an Elektra record deal. is the mid-eighties and there in ‘Human’s Lib’ (1984) is a fest Iall his spiky-headed glory, was of electronica but it’s also much Howard Jones in his synth-pop more and you’ll realise this if you pomp. Sometimes playing one of ever see the original music videos his stack of keyboards and then that accompany the singles. The whirling away to sing into his album encourages the autodidact. head-mic, touching his ear to draw Mostly with words of love, attention to it. peace and harmony plus oodles Jones was the epitome of the of melodic hooks to make the synth pop genre during this time. medicine go down. He was also ever-present - or so it ‘Dream into Action’ (1985) seemed - in the charts. Always on continues the psychology theme ‘TOTP’. In fact, co-presenter, John but moves more into self-help Peel, once introduced him with territory (i.e. ‘Things Can Only the free and easy “Howie” on one Get Better’, ‘Dream into Action’ occasion, such was his familiarity. and No One is to Blame’). In HOWARD JONES This Southampton-born artiste terms of synth pop? It’s bit less moved to Canada as a child, joined specialist synth and a bit more a prog outfit called Warrior, moved specialist pop but it still has plenty back to the UK, joined college, going for it. flunked out, played in jazz and Both editions are packed with funk bands back in Southampton alternative tracks, remixes and a Human’s Lib/Dream into Action and then went solo. It was John DVD of videos from each. Cherry Red

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 63 P58.indd 58 5/12/18 11:11:57 OPINION

"For me the Chord M Scaler was a digital revelation"

Noel Keywood

didn’t know what to expect been muttering darkly about digital CDS50 it worked at all output from Chord Electronics M since the early 1990s, from when I sample rates, including 352.8kHz, but Scaler: another device for tid- first met him, saying at least 352kHz Arcam's display said it was receiving dling up dodgy-digital perhaps. sample rate was required when such 44.1kHz and I heard no subjective There are no end of contrap- a thing wasn’t possible, Rob’s sense improvement. So the issue of DAC tions that re-clock to reduce of belief and determination here is compatibility is hazy. jitter,I up-sample, filter and do the undisputed – and unique. M Scaler with Hugo TT2 leaves fandango – all at the same time. They Important too that Chord the pack behind in measurement but offer improvement – but sufficient Electronics MD John Franks, similarly M Scaler in itself has little measurable improvement? Debatable. M Scaler a skilled and experienced electronics impact – although perhaps not with would join the debate, the cynic design engineer, recognised Rob’s time-domain impulse response inside thought. ability and was prepared to support measurements I haven’t yet applied. Not so: it leads the debate. it financially, leading to the company’s It is with listening that the mists The shock of M Scaler is sudden range of unique digital products – not – even the fog – of digital clear. M revelation of what digital can sound available, imitated or understood Scaler took CD and expunged its like, which then implants into the elsewhere in the world. sins! This threw light onto decades brain the expectation of what it is Some may like to pass all this of my insistence that digital (meaning meant to sound like – if you see what off as digital hocus-pocus, but you CD) was not as perfect as claimed I mean! I thought digital sounded like can’t in view of the class leading (and widely believed). Now, in exhibit-A, M Scaler says it sounds like measured performance we confirm addition to all its other identified exhibit-B. Oh. by measurement. faults that degrade sound quality, M As a reviewer I get to hear Chord Electronics face a Scaler shows that more is needed great digital from top quality DACs, commercial dilemma with M Scaler. to get the best from CD: proper nowadays preened by all sorts of They could have made it exclusive to filtering. mystical processing schemes. their DACs, via DBNC connection, M Scaler cleans up PCM digital Then there’s DSD that comes at but they have not. It has been given recordings by clearing muddle and you from another direction, barely digital outputs so it can be used with imposing focus. It also cleans and sounding digital at all. Think open, any DAC. This is commercially savvy clears hi-res (24/96) if to a lesser spacious, atmospheric and analogue because it opens up a wider potential degree. It does not bring CD up to like. buying audience. But pehaps not so good hi-res; the limitations of 16bit But now, having heard M Scaler, savvy in that it also suits and cleans code are still there. All the same CD they’ve faded backwards in sonic the sound of rival products, such as from M Scaler was more composed merit. Audiolab’s M-DAC+ – and perhaps and impressive than everyday hi-res I walked into the office on many others. Ouch. not processed through M Scaler. a quiet Sunday, span CD via our The idea of using M Scaler with M Scaler processes all digital Audiolab M-DAC+ and heard a other DACs got me intrigued. If, except DSD but when I listened to sound that was image-vague, slightly as Rob Watts claims, a one-million Diana Krall’s 'Narrow Daylight' in turgid and generally imprecise. But tap digital filter sorts out CD then 24/96 via M Scaler, then DSD via only after hearing M Scaler. Before this little box of tricks could be M-DAC+ (that doesn’t turn DSD to this experience M-DAC+ was a go- revelatory – and that’s how it turned PCM) I felt M Scaler just had it. More to for CD and hi-res replay. Now, out. I have now been re-programmed concise. suddenly, not so. to a different expectation of quality Such a comparison is ‘interesting’ But the issue is a little more from CD. rather than definitive. But it does complex. M-DAC+ can be fed from But, should you have a fat wallet suggest that normal digital (PCM) can M Scaler and with this happening it that needs lightening and a local sound pretty damn impressive when gets right back into the fray. I’ll need Chord Electronics dealer willing to well processed. For me all this was to explain why. help – a small warning. It worked a digital revelation. M Scaler brings M Scaler is a one-million tap with Audiolab's M-DAC+ but only both the subject and the music into digital filter, not a DAC like M-DAC+. up to 176.4kHz output; M-DAC+ focus. I hope we get to hear more on Its designer, Rob Watts, feels it is fell silent with 352.8kHz no matter all this very soon as it comes onto a milestone in digital. Since he has what cable I used. With Arcam's the open market.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 65 nextnext generationgeneration

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Klipsch Ref Base Ad 2018.indd 2 08/11/2018 10:24 OPINION

"I used to try to out-drink Bogey and Errol Flynn"

Paul Rigby

any of us enjoy the ‘Carousel’. So, what on earth am I completely failed him. They didn’t work of so-called talking about? A crazy choice, eh? have a clue what to do with Starr. “lesser” musical art- The problem with Gordon He grew bored, ran off to Alaska, ists. My own collec- MacRae – and Gordon MacRae hit the drink and the drugs, then tion is bulging with readily admitted this himself – was, he kicked both, became a sawmill the work of such you may be surprised to hear, worker, recorded some forgotten Mlost creatures. Gordon MacRae. Firstly, just as he country singles, found religion, We often look at the stars was building a tremendous film became a preacher and then – get out there from the likes of The career, he quit. His voice was as this – found politics and ran for Beatles, Led Zeppelin, Queen, Elton good as Howard Keel’s, to name President of the USA...twice! His John, Frank Sinatra, Bing Crosby, one competitive example, but I (and ‘Rockin’ Rollin’ Stone: 1955-1962... Madonna, Michael Jackson, Beyonce many others) wanted him to push Plus!’ gives you an idea of this lost and more. Then in comparison his talent just as far and, well, he talent. there are many other artists out didn’t. Ronnie Self is my last entrant. there that never truly maximised His problem? He was an A dead cert pop star. He had talent, the talent they had with any alcoholic. “I used to stand at the he was a wild child vandal, he had success. Never truly ‘made it’, in bar and try to out-drink Bogey and looks, he sang R&B, he sang country the classic sense. Never realised Errol Flynn” he said. His work on and even rockabilly. He had an their potential because of – what the four CD compilation, ‘Lover’s Elvis-ish, Carl Perkins-kinda voice, – personal addictions? Trouble with Gold’ illustrates that talent. he was a songwriter. I mean...come the law? Mental problems? A lady from Northern Ireland on! Self initially missed a vital tour Of course, such statements next, Ottilie Patterson. Never heard because of the birth of his son, then are not only sweeping but they are of her? You should have. She was a later his personal life deteriorated, debatable and my comments can white girl that sang the blues and he gained a wild man reputation, he easily be viewed as contentious. you can hear her on the CD, ‘The was barred by TV because of that, After all, who am I to judge? First Lady of British Blues’. Married then dropped by his record label How dare I call anyone’s talent to jazz legend, Chris Barber, she (Colombia - big league stuff), he hit unfulfilled? It can be argued that shared a stage with Lonnie Donegan the drink and drugs and flailed until treasured music from such artists and she sang with legends such the end. The ‘Ain’t I’m a Dog’ CD only appeared in the first place as Sister Rosetta Tharpe, Sonny tells a story of ‘what ifs’. because they had a hard time in Terry, Brownie McGhee and Big Bill Fractured talents are often of their lives and that, if everything Broonzy. more interest to music fans than was plain sailing, they would never Muddy Waters paid Ottilie established stars. Partly because have produced such vital music. Patterson the biggest compliment their life is often laid bare on the Who knows? when he stated, “Hey, lady, you sing stage. Their performances are often It’s a debatable point. real pretty. How come you sing like short-lived, raw, honest and to the Nevertheless, the following, is a one of us?” George Melly compared point. ‘woulda-coulda-shoulda’ list. All the her to Bessie Smith. Yet her talent Production is not the focus for artists, oddly enough, have received is often forgotten. Was that because these people, the message is the CD releases direct from the worthy of her frequent health issues spiking focus. And that’s the dichotomy of Jasmine label (www.jasmine-records. her forward trajectory, perhaps? ‘lost’ talents. Often the message co.uk), who must have a bead on Andy Starr had the name and they push out to the world is such people, so you can judge my should have been as big as Elvis longer lasting and more meaningful comments either way by listening to Presley. A man initially buried in than any ‘I Love You’ hit from a their respective CDs for yourself. poverty, a hobo who rode the trains rich megastar whose penned lyrics First up? Gordon MacRae. illegally travelling around the USA dissolve in the memory as quickly Yes, yes, I know, he was a big star and a delinquent who pulled a gun as sugar in your tea. and appeared in two of the most on a teacher at the age of 14. Yet, in such cases who, in successful Hollywood musicals Starr later recorded rockabilly artistic terms, is the success and there’s ever been: ‘Oklahoma’ and singles and signed with MGM who who is the failure?

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 67 Introducing Introducing DekoniDekoni BBluelue ETHER 2

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68 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk OPINION

“How can we sell sound equipment if there are no places to hear it?”

Jon Myles

have two major passions music was enhanced. digital audio players. in life – one is hi-fi and the He’s now significantly moved The cost of the total package? other is watches. upwards in terms of his system but Something in the range of £1500 So, while I was searching would never have done so without – for which you could put together for one of the latter recently having first heard mine. a rather nice home system that on a local High Street And nor would I have invested might sound better overall. Isomething struck me. There were money in that initial set-up without Take the Acoustic Audio AE no end of shops selling watches, having it demonstrated to me by 300s I review in this issue, price from relatively cheap quartz models a friendly dealer who took the £599, pair them with a good to the likes of high-end Rolex, time to explore my budget, talk amplifier and a nice set of stands Tudor and TAG Heuer costing an to me about my room size and and the sound quality is rather arm and a leg. I did not see one listening preferences and then put special. Sit someone down in front store stocked with loudspeakers, together a set of components that of this and their eyes and ears amplifiers, turntables or cables and suited my needs – even down to might well light up. interconnects. the interconnects and loudspeaker However, it isn’t going to Search as I did, I failed to find cables. happen while the bricks and a single hi-fi shop. However, there Yet those dealers seem to be mortar hi-fi shops keep closing to were no end of specialist jewellers disappearing. There are, of course, be replaced by charity outlets and and the likes of Ernest Hart, many reasons for this. Maintaining corner stores; there are ever fewer Beaverbrooks, H. Samuel et al all a High Street presence with places to hear hi-fi equipment bursting with timepieces. the rental required and size of nowadays. Which made me think: how store needed to stock the likes Is there a solution? Well, apart exactly are we expected to sell of loudspeakers, amplifiers and from me winning the National good quality sound equipment to turntables is not easy. They are Lottery and investing some of the a new generation if there are no far larger products than watches. millions in a dedicated hi-fi store places to hear it in? Then a dedicated listening room is with specialist staff, then perhaps I recall my brother once asking needed to demonstrate all this, plus not. However, the first time I went me – long ago – why I had so expert knowledge to explain all the into my local shop and actually much passion for hearing music fine details. Not something needed listened it made me want to open through – what he perceived – as to sell watches. my wallet; their existence is vital. an unnecessarily expensive set-up. Watches are much easier So the experience with my In truth, by today’s standards, it items to stock and sell – being brother still holds true. There is no was nothing of the sort at the time, smaller and requiring less space better way to demonstrate a hi-fi consisting of a Technics CD player, to showcase. However there’s no system and the joy it can give than NAD amplifier and a pair of KEF getting away from the fact that have someone sit down in front of standmount loudspeakers. sound quality still matters to a it and listen. That’s what I did, what Quite a simple system then, large amount of consumers, so hi-fi my dealer made available to me, even for the time, but as soon as stores cannot easily ignore demo and it helped bring a whole new he heard the sound he was taken facilities, or technical abilities. generation into hi-fi and expand aback and within a few weeks had Just look at the headphone musical appreciation at the time. gone out to buy something similar. market for example. During my On a final note – I failed to buy Shortly after he started looking to daily commute to work I see the watch. The reason? I preferred upgrade. All this because he had many people sporting £500+ in- to spend the money on a new heard a simple but good system in ear monitors allied to the likes of amplifier! It was a much better the flesh and realised the power of Astell&Kern or FiiO high-resolution investment.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 69

OPINION

"I received a £20 voucher and a letter signed by the great man himself"

Martin Pipe

any of you will could treat themselves to budget he used this platform to freely-admit have experience of bargains, especially if they were that he exploited a tax loophole. He the Richer Sounds prepared to indulge in a spot of DIY. now regrets these actions. chain of hi-fi shops, Some tuners and cassette decks, In the article, he states that “all founded in 1978 by for example, required customers of us involved in business” need 19 year-old entrepre- to make their own power supply to be looking at what can be done Mneur Julian Richer – whose parents arrangements as the amplifiers to “reduce inequality, not make it worked for Marks and Spencer. normally performing such duties worse”. Richer Sounds – which he Maybe that’s what inspired Richer were not part of Richer’s deals with tries to run “in an ethical way” – is junior to get into retail; in the 1970s, manufacturers. certainly doing its bit. For a start, hi-fi was in its boom phase and a way I also came across damaged 15% of its profits go to good causes. of life for many. It almost certainly equipment in need of repairs And “unlike certain internet giants...” helped that he loved his music; to (imagine retailers offering such says its website, Richer is “a British this day, Richer plays drums in a funk goods now!) and even a selection of company, paying British taxes and style. A significant proportion of second-hand equipment at Richer proud to be supporting the British his employees are musicians in their Sounds stores, the number of which economy and high street...with a spare time too. And he has ploughed grew over the decades to the warehouse in Manchester, not Jersey some of the money he has made into present tally of 53. Richer Sounds or Luxembourg”. In his article, he Richer Unsigned, which aims to pro- also sidelined into areas like TV and repeats Tax Justice UK’s ‘conser- mote talented artists without record video, using the same pile-it-high, sell- vative’ estimate that Britain “could be deals. it-cheap techniques, although it has losing £120 billion to tax dodging... Famous for cut-to-the-bone since switched to a more upmarket just imagine how much that could pricing and heavy advertising in the approach with new branding, dem help public services”. mass-market What Hi-Fi, the store rooms and home cinema/multi-room “Capitalism without checks” he that he opened for business with offerings. explains, “is a dangerous machine photography retailer Vic Odden came The chain always offered which can exploit workers, rip to prominence in the 1980s. The first to beat prices, and encouraged off customers and make our Richer Sounds, a tiny outlet not far customers to get in touch with societies more unequal”. Richer from London Bridge station, achieved their suggestions. Back in 1990 I rejects ideas like imposed zero- the Guinness record for the highest received a £20 voucher, and a letter hours contracts. “Happy staff” – he sales per square foot in a retail signed by the great man himself, for refreshingly believes – equate to outlet anywhere in the world. When I mine. I can’t remember what my “happy customers”. To this end, he is visited, the tiny shop (still there, over suggestion was, but the voucher was committed to providing “employees forty years on!) was indeed packed. put towards a pair of Sennheiser with secure, well-paid jobs in a There was barely enough room for HD480 headphones. Yorkshire-based stimulating, equal opportunities customers, never mind luxuries like Richer also has a 51% share in the environment”. dem rooms. But I’d always walk out Audio Partnership hi-fi manufacturer Richer acknowledges that staff with something – if only a pack of – currently-responsible for brands are key to his business, unlike other TDK cassette tapes, which Richer like Mordaunt-Short (speakers), Opus entrepreneurs who “say their success always sold cheaper than anyone (multi-room home entertainment) is down to their great talent...they else! and (probably the best known of ‘em feel they don’t depend on anyone Richer Sounds’ initial success all) Cambridge Audio. Naturally, the else, so are entitled to maximise came from snapping up the stock latter are stocked by Richer Sounds profits at any cost”. that manufacturers (mostly Japanese) outlets. Then there are the businesses were having trouble shifting, and So what has stimulated me to he deals with, the cash-flow of his flogging it quickly – and cheaply! write about Julian Richer? A recent suppliers. He claims that “every one One manufacturer privately admitted (January 23rd) article in the London of them” is paid in an average of that Richer ‘bought their greatest Evening Standard sets out his stall on only 18 days – “over twice as fast”, mistakes’. Punters who would various matters like tax-avoidance. he reckons, as “the national norm”. otherwise have been priced out And it makes for riveting – and Post-Brexit Britain needs more of the hi-fi game (myself included!) inspirational – reading. Interestingly, entrepreneurs like Julian Richer.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 71 �

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Hi Fi Sound.indd 1 13/10/2017 10:31 OPINION

"yes I have taken on Frank Ifield on occasions"

Dave Tutt

s a child I was in the birthday money when I was 11. It market in the town, music from the junior school choir. I got was a noisy, bustling, cramped shop Caribbean, from India and Pakistan to sing all those typical and a challenge to buy anything at that had never been heard here. They school songs of the time that age. Coopers however was were also probably put in difficulties including hymns from a different. Usually silent with very with the rise of the CD which traditional Christian envi- few customers and two quite stern changed the market considerably. Aronment. I was also often to be found looking staff. However, they were So for a while it was Our Price singing along to my parents record very helpful and knowledgeable if who came to monopolise sales of collection – the least said about that you knew what to ask for. This was music in Chatham. Shelves of LPs got probably the better! probably my first experience of pushed out as more CDs arrived, as This was during the mid to late proper sound. well as VHS tapes. I did still manage 1960s with the Beatles, Stones and Coopers was equipped with a to buy things like Olivia Newton Elvis in the charts, none of whom Garrard 301 and SME 3009 turntable, John and John Themis, as well as Jean made much of a dent on my musical Quad 303 33 amplification and a Luc Ponty and Jimmy Webb with his tastes. My dad drove an Austin A105, huge pair of Goodmans 301 based original 1977 album containing The his first car, and of course no radio speakers. Not only that, they had a Highwayman. so there was little appreciation of the second set up and listening booths! All this time I have still been music of the time. I was stuck in a Browsing here was a revelation. As I singing, usually along with the music time warp of “The Sound of Music”, got older going to Coopers looking on the radio or playing through the “Oliver”, Val Doonican or Max for something specific was always system somewhere. Every now and Bygraves! We did have those odd great. I purchased the difficult to then I get the urge to sing something songs like Right said Fred by Bernard find albums by the Moody Blues that when no one is around which could Cribbins and Come outside by Mike Boots hadn’t even heard of, and as be 5 O’clock in the morning by Sarne, where some of the lyrics that the years went by I discovered all Godley and Creme or Sunshine on I couldn’t quite get in the day now sorts of things there. Renaissance my shoulder by John Denver or even make much more sense. Novella, brilliant! George Benson, Strange way by Firefall. Sometimes it's At that time also an American Colin Blunstone, and many others. in the car if some particular incident gentleman called Andy Williams By this time Woolworths in has sparked random thoughts that appeared on the TV on the BBC, the my town had records, although it can only be voiced by a quick tune, only channel we had. He seemed was rare that anything in the shop be it a nutty verse from something to sing totally differently to what I stirred my interest. If you liked MFP my mother would have come up with was used to, locked in as I was to compilations from singers that should or something from the vast back my parents 1950’s style big band have stuck to strutting their stuff catalogue of lyrics that get stuck in crooners or music from the shows. with Lulu on the TV you were in our heads. So at the age of around 11 my heaven – but not for me thanks. I appreciate a proper singer, male musical education began. Then Our Price arrived. Wow! or female. The ability to hold a tune There were only two shops So much here that I had never heard is what triggers my initial interest in Chatham at the time that had of nor for that matter would I have followed by phrasing and tone. So records, LPs as they were called considered buying. I have never been Pink Floyd captivates me, it's almost then – Boots the chemist and a much into heavy metal, punk, or to a hypnotic. Quarterflash, Shakin the lovely little independent shop at the certain extent the likes of Led Zep, Jinx or Love should be so kind both other end of the high street called ELP or Black Sabbath but hey each rank as favourites. Coopers. Boots was a combination to their own. It's much of a track So I must apologise to my made up of around 6 narrow shops pick from these sort of bands, not an neighbours both past, present and with each department flowing into entire album. future who might have or will find my another; music was tucked into the Coopers eventually closed. My yodelling (yes I have taken on Frank HI-FI SERVICE & REPAIR Dave Tutt back of one section. last visit showed the store having Ifield on occasions) an annoyance. +44 (0)7759 105932 It was here I found some Andy tried a move into more ethnic music Or for that matter singing along with [email protected] Williams which I brought with my styles to cater for the growing Oliver tunes when I was 9 or 10! www.tutt-technology.co.uk

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 73 CLASSICS

We do not sell these products. It is for your information only. WORLD CLASSICS Here is our list of the great and good from audio’s glorious past, products that have earned their place in hi-fi history. You’ll also see some oddities which aren’t classic as such, but are great used buys. The year of introduction is given, alongside the original UK launch price.

MICHELL ORBE 1995 £2,500 ADC ACCUTRAC 4000 1976 £300 TURNTABLES The top Michell disc spinner remains a superbly Bonkers 1970s direct drive that uses an infra red EAT FORTE 2009 £12,500 capable all rounder with powerful, spacious sound beam to allow track selection and programming. Lavishly finished two box, two motor turntable with that’s delicate and beguiling. More of a visual and operational delight than a gorgeous Ikeda 407 tonearm bundled. Exceptionally sonic stunner. stable and unfussy performer with a relaxed but SME MODEL 10A 1995 £4,700 highly enjoyable gait. Exquisitely engineered deck and SME V tonearm PIONEER PLC-590 1976 £600 combo that’s an extremely accomplished performer Sturdy and competent motor unit that performs with classical music. well with a wide range of tonearms. Check very thoroughly before buying due to electronic com- LINN AXIS 1987 £253 plexity and use of some now-obsolete ICs . Cut-price version of the Sondek with LVX arm. Elegant and decently performing package. Later PIONEER PL12D 1973 £36 version with Akito tonearm better. When vinyl was the leading source, this bought new standards of noise performance and stability ROKSAN XERXES 1984 £550 to the class, plus a low friction S-shaped tonearm. Super tight and clean sound, with excellent tran- Later PL112D was off the pace compared to rivals. FUNK FIRM VECTOR II 2009 £860 sients. Less musical than the Sondek, but more Innovative engineering gives a nimble, pacey and neutral. Sagging plinth top-plates make them a musical sound that’s one of the best at the price. dubious used buy.

REGA P2 2008 £300 DUAL CS505 1982 £75 Excellent value for money engineering, easy set up Simple high quality engineering and a respectable and fine sound. low mass tonearm made for a brilliant budget buy. Polished, smooth and slightly bland sound. MCINTOSH MT10 2008 £8,995 Big, expensive, controversially styled and glows MICHELL GYRODEC 1981 £599 more than some might consider necessary, but an Thanks to its stunning visuals, this bold design TECHNICS SP10 1973 £400 astonishingly good performer. wasn’t accorded the respect it deserved. Clean, Seminal Japanese engineering. Sonics depend on solid and architectural sound. plinths, but a well mounted SP10/II will give any REGA P3-24 2008 £405 modern a hard time, especially in respect of bass Seminal affordable audiophile deck with fine TOWNSHEND ROCK 1979 £ N/A power and midband accuracy. bundled tonearm. Tweakable, and really sings with Novel machine has extremely clean and fluid optional £150 outboard power supply. sound. Substantially modified through the years, LINN SONDEK LP12 1973 £86 and capable of superb results even today. For many, the Brit superdeck; constant mods meant ACOUSTIC SOLID ONE 2007 £4,050 that early ones sound warmer and more lyrical than Huge turntable, both in terms of sheer mass and MARANTZ TT1000 1978 £ N/A modern versions. Recent 'SE' mods have brought it sonic dynamics. Fit up to three arms and enjoy, just Beautiful seventies high end belt drive with sweet into the 21st century, albeit at a price don’t damage your back moving it... and clean sound. Rare in Europe, but big in Japan. ARISTON RD11S 1972 £94 AVID VOLVERE SEQUEL 2007 £4,600 Modern evolution of Thorens’ original belt drive Stylish high end vinyl spinner with industrial paradigm, Scotland’s original super-deck was strength build quality and a sound to match. Sound warm and musical, albeit soft. Still capable of fine is edge-of-the-seat stuff. results today.

MICHELL GYRODEC SE 2005 £1,115 GOLDRING LENCO GL75 1970 £15.6S Design icon with superlative build. Sound is beauti- Simple, well engineered motor unit with soft, sweet fully smooth, effortless and exceptionally expansive. sound and reasonable tonearm. Good spares and servicing support even today. MARANTZ TT-15S1 2005 £1,299 Cracking all in one deck/arm/cartridge combination, GARRARD 301/401 1953 £19 this must surely be the best sound‘plug and play REGA PLANAR 3 1978 £79 Tremendously strong and articulate with only a package at this price point. Brilliantly simple but clean and musical performer, veiled treble to let it down. complete with Acos-derived S-shaped tonearm. 1983 MICHELL TECNODEC 2003 £579 saw the arrival of the RB300, which added detail at Superb introduction to Michell turntables - on a the expense of warmth. Superb budget buy. budget. Top quality build and elegant design mean it’s still the class of the mid-price field. SONY PS-B80 1978 £800 First outing for Sony's impressive 'Biotracer' electronic tonearm. Built like a tank with a clean and tidy sound, albeit lacking involvement. Scarily complicated and with no spares support - buy with caution! THORENS TD124 1959 £ N/A TRIO LO-7D 1978 £600 The template for virtually every 1970s ‘superdeck’, The best ‘all-in-one’ turntable package ever made, this iconic design was the only real competition for Clean, powerful and three-dimensional sound, ulti- Garrard’s 301. It was sweeter and more lyrical, yet mately limited by the tonearm. lighter and less impactful in the bass

74 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk CLASSICS

TECHNICS EPA-501 1979 £ N/A SUGDEN IA4 2007 £3,650 TONEARMS Popular partner for late seventies Technics motor Goodly amount of Class A power, icy clarity and a REGA RB251 2009 £136 units. Nice build and Titanium Nitride tube can't breathtakingly fast, musical sound make this one of Capable way past its price point, the new 3-point compensate for middling sound. the very best super-integrateds. mount version of the classic RB250 serves up a taut and detailed sound. A little lean for some LINN ITTOK LVII 1978 £253 NUFORCE P-9 2007 £2,200 tastes, but responds well to rewiring and counter- Japanese design to Linn specs made for a mus- Impressive two box preamp with superb resolution weight modification. cular, rhythmic sound with real dynamics.The final and an engaging sound. LVIII version worth seeking out. HELIUS OMEGA 2008 £1,595 MELODY PURE BLACK 101D 2007 £3,295 WORLD CLASSICS Stylish and solid lump of arm with fabulous build qual- AUDIO TECHNICA AT 1120 1978 £75 The clarity and openness of valves plus firm grip and ity, that turns in a dynamic and weighty performance. Fine finish can't compensate for this ultra low mass fine detail make this a preamplifier masterclass. arm's limited sonics - a good starter arm if you've AUDIO ORIGAMI PU7 2007 £1,300 only got a few quid to spend. AUDIOLAB 8000S 2006 £400 The classic Syrinx PU3 updated to spectacular In another life, this sold for three times the price, effect. Hand made to order, with any mass, length HADCOCK GH228 1976 £46 making it a stand-out bargain now. Very clean, and colour you care for. Fit, finish and sound truly Evergreen unipivot with lovely sweet, fluid sound. powerful and tidy sound . impressive. Excellent service backup. MCINTOSH MA6800 1995 £3735 ACOS LUSTRE GST-1 1975 £46 Effortlessly sweet, strong and powerful with semi- The archetypal S-shaped seventies arm; good, pro- nal styling to match. pulsive and involving sound in its day, but ragged and undynamic now. DELTEC 1987 £1900 Fast, dry and with excellent transients, this first SME 3009 1959 £18 DPA integrated is the real deal for eighties obses- Once state of the art, but long since bettered. sives. Ridiculously punchy 80W per channel from Musical enough, but weak at frequency extremes a tiny, half-size box. Radical, cool and more than a and veiled in the midband. Legendary serviceability little strange. and stunning build has made it a cult, used prices GRAHAM PHANTOM 2006 £3,160 unjustifiably high. EXPOSURE VII/VIII 1985 £625 Sonically stunning arm with magnificent bass Seminal pre-power, offering most of what Naim dexterity and soudstaging. Build quality up to SME PHONO STAGES amps did with just that little bit extra smoothness. standards, which is really saying something! CREEK OBH-8 SE 1996 £180 Lean, punchy and musical. Punchy, rhythmic character with oodles of detail TRI-PLANAR PRECISION 2006 £3,600 makes this a great budget audiophile classic. Immaculate build, exquisite design and one of the Partner with a Goldring G1042 for an unbeatable most naturally musical and lucid sounds around. budget combination.

MICHELL TECNOARM A 2003 £442 MICHELL ISO 1988 £ N/A Clever reworking of the Rega theme, using blasting, This Tom Evans-designed black box started the drilling and rewiring! trend for high performance offboard phono stages. Charismatic, musical and punchy - if lacking in SME 309 1989 £767 finesse. Mid-price SME comes complete with cost-cut aluminium armtube and detachable headshell. Tight, AUDIOLAB 8000A 1985 £495 neutral sound with good tonality, but lacks the IV’s Smooth integrated with clean MM/MC phono stage pace and precision. and huge feature count. Extremely reliable, too. Post '93 versions a top used buy. NAIM ARO 1987 £1,425 Charismatic unipivot is poor at frequency extremes VTL MINIMAL/50W MONOBLOCK but sublime in the midband; truly emotive and 1985 £1,300 insightful. Rugged, professional build and finish allied to a lively and punchy sound (albeit with limited power) SME SERIES V 1987 £2,390 make them an excellent used buy. Vice-like bass with incredible weight, ultra clear LINN LINNK 1984 £149 midband and treble astound, although some don’t Naim-designed MC phono stage built to partner MUSICAL FIDELITY A1 1985 £350 like its matter of factness! the original Naim NAIT - yes, really! Fine sound, Beguiling Class A integrated with exquisite styling. although off the pace these days. Questionable reliability. NAIM ARO 1986 £875 Truly endearing and charismatic performer - won- MISSION CYRUS 2 1984 £299 derfully engaging mid-band makes up for softened INTEGRATED AMPLIFIERS Classic 1980sminimalism combines arresting styling with clean, open, lively sound. Further upgrade- frequency extremes. NAIM NAIT XS 2009 £1,250 able with PSX power supply. With much of the sound of the Supernait at half the price, this is powerful, articulate and smooth beyond class expectations.

MUSICAL FIDELITY PRIMO 2009 £7,900 Seriously expensive, but one listen explains why. Wonderfully exuberant sound that can only come from a top quality tube design.

SUGDEN A21A S2 2008 £1,469 Crystalline clarity, dizzying speed and forensic detailing. Power limited so needs sensitive speak- NAIM NAIT 1984 £350 ALPHASON HR100S 1981 £150 ers. Superb rhythms and dynamics make it truly musi- First class arm, practically up to present-day stan- cal, but tonally monochromatic. Fine phono stage, dards. Buy carefully, though, as there is no service CREEK OBH-22 2008 £350 very low power. available now. Totally under priced when new, Brilliant value budget passive, with remote control, exceptional. mute and input switching, plus an easy, a neutral CREEK CAS4040 1983 £150 sound. More musical than any budget amp before it; SME SERIES III 1979 £113 CAS4140 loses tone controls, gains grip Clever variable mass design complete with CAMBRIDGE 840A V2 2007 £750 Titanium Nitride tube tried to be all things to all Version 2 addresses version 1's weaknesses to MYST TMA3 1983 £300 men, and failed. Charming nonetheless, with a turn in a mightily accomplished performance, offer- Madcap eighties minimalism, but a strong and tight warm and inoffensive sound. ing power, finesse and detail. performer all the same.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 75 CLASSICS

ROTEL RA-820BX 1983 £139 MARANTZ MODEL 9 1997 £8000 QUAD II 1952 £22 Lively and clean budget integrated that arguably Authentic reproduction monoblocks still more than The all-time classic valve amplifier, with a deli- started the move to minimalism. cut the sonic mustard. Highly expensive and highly ciously fluid and lyrical voice. In other respects sought after. though, it sounds hopelessly dated. Low power and NAD 3020 1979 £69 hard to partner properly Brilliantly smooth, sweet and punchy at the price and MICHELL ALECTO 1997 £1989 even has a better phono stage than you'd expect. The Crisp, clean and beautifully controlled with gor- archetypal budget super-amp. geous styling. Partnered with the £1650 Orca this sounds delicious! ROGERS A75 1978 £220 Lots of sensible facilities, a goodly power output and nice sound in one box. The later A75II and A100 versions offered improved sonics and were seriously sweet.

A&R A60 1977 £115 Sweet and musical feature-packed integrated; the LEAK POINT ONE, TL10, Audiolab 8000A remains a classic. TL12.1, TL/12 PLUS 1949 £28 Early classics that are getting expensive. MUSICAL FIDELITY XA200 1996 £1000 Overhauling is de rigeur before use, using original 200W of sweet smooth transistor stomp in a parts if possible. Surprisingly crisp and musical. grooved tube! Under-rated oddity. Deeply impressive in fine fettle.

PIONEER M-73 1988 £1,200 Monster stomp from this seminal Japanese power PRE AMPLIFIERS AUDIOLAB 8000C 1991 £499 amplifier, complete with switchable Class A and Tonally grey but fine phono input and great facilities Class B operation. Clean, open and assured sound- make it an excellent general purpose tool. ing, albeit a tad behind the pace on high speed dance music. Rosewood side cheeks and black SUGDEN C51/P51 1976 £130 brushed aluminium completes the experience. Soft sounding early Sugden combo with a plethora of facilities and filters. A sweet and endearing KRELL KMA100 II 1987 £5,750 performer but lacking in power and poor load driv- Monoblock version of the giant KSA-100 is one ing ability. of the seminal 80s transistor power amplifiers. Massive wallop allied to clean and open Class A SUGDEN A21 1969 £ N/A sound makes this one of the best amplifiers of Class A transistor integrated with an eminently its type. CROFT MICRO 1986 £150 likeable smoothness and musicality. Limited inputs Budget valve pre-amp with exceptionally transpar- via DIN sockets. RADFORD STA25 RENAISSANCE ent performance. 1986 £977 ROGERS CADET III 1965 £34 This reworking of Radford’s original late sixties CONRAD JOHNSON Sweet sounding valve integrated, uses ECL86 design was possessed of a wonderfully rich, old MOTIV MC-8 1986 £2,500 output valves, even has a half useable phono stage, school valve sound with enough power (25W) and Minimalist FET-based preamplifier is brilliantly sweet, warm a good introduction to valves lots of subtlety. neutral and smooth with a spry, light balance in the mould of Sugden. Something of a curio, but worth- CHAPMAN 305 1960 £40 QUAD 405 1978 £115 while nonetheless. Smooth pre/power combo with a sweet and open The first of the current dumpers is a capable sound. Not quite up to Leak/Quad standards but design with smooth, effortless power and a decent- AUDIO RESEARCH SP-8 1982 £1,400 considerably cheaper secondhand. ly musical sound. 606 and 707 continue the theme Beautifully designed and built high end tube pre- with greater detail and incision. amplifier with deliciously sweet and smooth sound. POWER AMPLIFIERS Not the last word in incision or grip. ELECTROCOMPANIET NEMO 2009 £4,995 HH ELECTRONICS TPA-50D AMPLIFIERS (EACH) 1973 £110 LINN LK-1 1986 £499 Norwegian power station as cool as a glacier ton- Simple design with easily available components, A brave attempt to bring remote controlled ally, yet impresses with sheer physicality and fleet- solid build quality and fine sound make for a sur- user-friendliness to hair-shirt audiophile hi-fi. ness of foot. 600W per channel. prisingly overlooked bargain Didn't quite work, but not bad for under £100.

NUFORCE REFERENCE 9SE V2 2006 £1,750 LECSON AP1 1973 £ N/A NAIM NAC 32.5 1978 £ N/A Brilliant value for money monoblocks with massive Madcap cylindrical styling alluded to its ‘tower of Classic high end pre. Brilliantly fast and incisive power and super-clean, three dimensional sound. power’ pretensions, but it wasn’t. Poor build, but sound that's a joy with vinyl but a tad forward for decently clean sounding when working. digital. QUAD II-80 2005 £6,000 PER PAIR QUAD 303 1968 £55 LECSON AC-1 1973 £ N/A Quad’s best ever power amplifier. Dramatic Bullet proof build, but woolly sound. Off the pace, Amazing styling courtesy of Allan Boothroyd can’t performer with silky but dark tonality, blistering but endearing nonetheless. Some pipe smoking disguise its rather cloudy sound, but a design clas- dynamics, serious power and compellingly musi- slipper wearers swear by them! sic nonetheless. cal sound. LEAK STEREO 20 1958 £31 QUAD 33 1968 £43 Excellent workaday classic valve amplifier with Better than the 22, but Quad's first tranny pre isn't decent power and drive. Surprisingly modern outstanding. Responds well to tweaking/ rebuilding sounding if rebuilt sympathetically. Irrepressibly though... musical and fluid.

QUAD 909 2001 £900 Current-dumper has a smooth and expansive char- LEAK POINT ONE STEREO 1958 £ N/A acter with enough wallop to drive most loads. Not Good for their time, but way off the pace these the most musical, but superb value all the same. days. Use of EF86 pentode valve for high gain rules out ultra performance. Not the highest-fi! NAIM NAP 500 2000 £17,950 LEAK STEREO 60 1958 £N/A Flagship amplifier will drive just about any speaker Leak's biggest valve power amp offers 35 Watts QUAD 22 1958 £25 with ease. Factor in the company’s trademark pace, per channel and more low end welly than the The partner to the much vaunted Quad II mono- rhythm and timing and it all adds up to one effort- smaller Stereo 20. Despite concerns over reliability blocks - cloudy and vague sound means it's for lessly musical package. rarity value means high price. anacrophiles only.

76 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk CLASSICS

B&O BEOLAB 9 2007 £5,000 TANNOY WESTMINSTER 1985 £4500 LOUDSPEAKERS Technically impressive and visually striking Folded horn monsters which sound good if you have WHARFEDALE DIAMOND 10.3 2010 £290 loudspeakers with sound quality that more than the space. Not the last word in tautness but can Great small standmounters for audiophiles on a matches their looks. drive large rooms and image like few others. budget; dry punchy sound with impressive sound- staging at the price.

CELESTION SL6 1984 £350 ISOPHON CASSIANO 2007 £12,900 Smallish two way design complete with aluminium Drive units featuring exotic materials allied to dome tweeter and plastic mid-bass unit set the YAMAHA SOAVO 1.1 2009 £3,000 superlative build quality result in an immensely blueprint for nineteen eighties loudspeakers. Very Musical, transparent with impressive dynamics and capable loudspeaker. Not an easy load to drive, open and clean sounding, albeit course at high cohesion. Excellent build and finish. however. frequencies and limp in the bass. Speakers would never be the same again… USHER BE-10 2009 £10,500 QUAD ESL-2905 2006 £5,995 Clever high end moving coil design with immense The old 989 with all the bugs taken out, this gives HEYBROOK HB1 1982 £130 speed and dizzying clarity allied to epic punch. a brilliantly neutral and open sound like only a Peter Comeau-designed standmounters with an Needs the best ancillaries to fly, though... top electrostatic can; still not a natural rock loud- amazingly lyrical yet decently refined sound. Good speaker, though. enough to partner with very high end ancillaries, yet great with budget kit too. A classic B&W 801D 2006 £10,500 In many respects, the ultimate studio monitor; daz- zling clarity and speed with commanding scale and dynamics.

SPENDOR A5 2009 £1,695 QUAD ESL63 1980 £1200 Multi-talented floorstanders with generous scale An update of the ESL57, with stiffer cabinets. Until and punch and Spendor’s classic mid-range detail. the 989, the best of the Quad electrostatics. Deliver a sound that thoroughly engages whatever you care to play. MISSION 770 1980 £375 Back in its day, it was an innovative product and MONITOR AUDIO PL100 2008 £2,300 one of the first of the polypropylene designs. warm, The flagship 'Platinum' series standmounter has REVOLVER CYGNIS 2006 £5,999 smooth, clean and powerful sound, a lovely warm and delicate sound with superlative Revolver pull out all the stops and show what they treble. can do with this magnificent flagship loudspeaker. ACOUSTIC RESEARCH AR18S 1978 £125 A superb monitor that is like a mini B&W 801D in Yank designed, British built loudspeaker became many ways. a budget staple for many rock fans, thanks to the great speed from the paper drivers, although USHER BE-718 2007 £1,600 finesse was most definitely not their forte… Beryllium tweeters work superbly, allied to a fast and punchy bass driver. The result is subtle, smooth YAMAHA NS1000 1977 £532 and emotive. High tech Beryllium midband and tweeter domes and brutish 12" woofers in massive sealed mirror USHER S-520 2006 £350 image cabs equals stunning transients, speed and Astonishingly capable budget standmounters that wallop allied to superb transparency and ultra low offer detail and dynamics well beyond their price distortion. Partner carefully! and dimensions. MARTIN LOGAN SOURCE 2008 £1,600 Brilliant entry level electrostatics, giving a taste of ACOUSTIC ENERGY AE1 CLASSIC loudspeaker esoterica for the price of most moving 2006 £845 coil boxes. Tremendous clarity, eveness and deli- Brilliantly successful remake of an iconic design; cacy, although not the world's most powerful sound. not flawless, but surely one of the most musical loudspeakers ever made. PMC OB1I 2008 £2,950 Cleverly updated floorstanders give scale and solid- ity in slim and well finished package. JR 149 1977 £120 ISOPHON GALILEO 2007 £2,100 Cylindrical speaker was ignored for decades but Big standmounters that really grip the music and now back in fashion! Based on classic KEF T27/ offer quite startling dynamics and grip. B110 combo as seen in the BBC LS3/5a. Doesn’t play loud, needs a powerful transistor amplifier, but ONE THING AUDIO ESL57 2007 £1,450 has clarity and imaging, One Thing Audio's modifications keep the good old ESL57 at the very top of the game. KEF R105 1977 £785 MISSION X-SPACE 1999 £499 Three way Bextrene-based floorstander gave a truly MOWGAN AUDIO MABON 2007 £3,995 The first mass production sub and sat system using wideband listen and massive (500W) power han- Massively capable loudspeakers that offer dynam- NXT panels is a sure-fire future classic - not flaw- dling. A very neutral, spacious and polite sounding ics, scale and clarity in an elegantly simple pack- less, but a tantalisingly unboxy sound nevertheless! design, but rhythmically well off the pace. age. Wide range of finishes, too. MISSION 752 1995 £495 IMF TLS80 1976 £550 B&W 686 2007 £299 Cracking Henry Azima-designed floorstanders Warm and powerful 1970s behemoth with trans- Baby standmounters offer a sophisticated and combined HDA drive units and metal dome tweeters mission loading and a mixture of KEF and Celestion mature performance that belies both their dimen- with surprisingly warm results. Benign load charac- drive units. Impressively physical wideband sound sions and price tag. teristics makes them great for valves. but rhythms not a forte.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 77 CLASSICS

SPENDOR BC1 1976 £240 SHANLING MC-30 2007 £650 QUAD FM4 1983 £240 Celestion HF1300 tweeter meets bespoke Spendor Quite possibly the cutest all-in-one around with fine Supreme ergonomics allied to a pleasingly lyrical Bextrene mid-bass unit. The result is a beautifully performance from the CD player, tuner and MP3 sound with plenty of sweetness and detail made warm yet focussed sound. A little bass bloom player input. Very low power, though. this one of the best tuners around upon its launch. necessitates careful low-stand mounting.

NAD 4040 1979 £79 Tremendously smooth and natural sound allied to low prices and good availability make this budget analogue esoterica. AURA NOTE PREMIER 2007 £1,500 Lovely shiny CD/tuner/amplifier with fine sound MARANTZ ST-8 1978 £353 quality and dynamic abilities. Marantz's finest radio moment. Warm, organic sound plus an oscilloscope for checking the signal strength and multipath. HH ELECTRONICS TPA-50D AMPLIFIERS 1973 £110 YAMAHA CT7000 1977 £444 Simple design with easily available components, Combines sleek ergonomics, high sensitivity and an solid build quality and fine sound make for a sur- explicit, detailed sound. prisingly overlooked bargain. Not exactly stylish, however. SONY ST-5950 1977 £222 One of the first Dolby FM-equipped tuners, a for- BBC LS3/5A 1972 £88 mat that came to nought. Still, it was Sony’s most Extremely low colouration design is amazing in expensive tuner to date, and boasted good sound some respects – articulation, stage depth, clarity quality with brilliant ergonomics. – and useless in others (both frequency extremes). ARCAM SOLO NEO 2006 £1,100 Came in wide variety of guises from various manu- Excellent all-in-one system, with a warm, smooth facturers building it under licence. and balanced sound to match the features and style. LEAK SANDWICH 1961 £39 EACH PEACHTREE AUDIO IDECCO £1,000 Warm sounding infinite baffle that, with a reason- Excellent sounding iPod dock, impressive DAC and ably powerful amplifier can sound quite satisfying. fine amplifier section make this an excellent one box style system. QUAD ESL57 1956 £45 EACH ROGERS T75 1977 £125 Wonderfully open and neutral sound puts box Superb mid-price British audiophile design, com- loudspeakers to shame. Properly serviced they give plete with understated black fascia.Smooth and superb midband performance, although frequency sweet with fine dimensionality. extremes less impressive. Ideally, use in stacked pairs or with subwoofers and supertweeters. SANSUI TU-9900 1976 £300 A flagship Japanese tuner . It boasts superlative SYSTEMS RF performance and an extremely smooth and MERIDIAN SOOLOOS 2.1 2010 £6,990 lucid sound. Crisp styling, bright, colourful touchscreen, plus excellent search facilities . This is one hard disk music system with a difference. Best partnered to Meridian active loudspeakers. TUNERS ARCAM FMJ T32 2009 £600 Excellent hybrid FM/DAB+ tuner with a smooth, engaging sound. Factor in its fine build and it’s a super value package.

TECHNICS ST-8080 1976 £180 Superb FM stage makes for a clean and smooth listen.

REVOX B760 1975 £520 The Revox offers superlative measured performance although the sound isn’t quite as staggering as the numbers. Fine nonetheless, and surely the most NAIM UNITIQUTE 2010 £995 durable tuner here? Great little half width one-box system with truly impressive sound allied to a wealth of source MAGNUM DYNALAB MD-100T 2006 £1,895 options. One of the best ways to hear FM that we know; superbly open and musical sound in a quirky but ARCAM SOLO MINI 2008 £650 characterful package. Half the size and two-thirds the price of a full-sized Solo, the Mini gives very little away in terms of MYRYAD MXT4000 2005 £1,000 performance to it bigger brother. Sumptuous sound and top-notch build quality make SEQUERRA MODEL 1 1973 £1300 for a tempting AM/FM package. Warm and richly Possibly the ultimate FM tuner. Massive in terms of MERIDIAN F80 2007 £1,500 detailed on good-quality music broadcasts. technology, size and features dedicated to extract- Fantastically built and versatile DVD/CD/DAB/FM/ ing every ounce of performance from radio, includ- AM unit, designed in conjunction with Ferrari. NAIM NAT03 1993 £595 ing impressive multi-purpose oscilloscope display. Ignore nay-sayers who sneer that it isn’t a ‘proper’ The warm, atmospheric sound is further proof of hi-fi product. Just listen. Naim's proficiency with tuners. LEAK TROUGHLINE 1956 £25 Series I an interesting ornament but limited to MARANTZ ‘LEGEND’ 2007 £22,000 CREEK CAS3140 1985 £199 88-100MHz only. II and III are arguably the best- The combination of SA-7S1 disc player, SC-7S2 Excellent detail, separation and dynamics - bril- sounding tuners ever. Adaptation for stereo easy via preamp and MA-9S2 monoblocks delivers jaw- liantly musical at the price. T40 continued the phono multiplex socket. Deliciously lucid with true dropping performance. theme... dimensionality.

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MARANTZ CD73 1983 £700 PIONEER CTF-950 1978 £400 HEADPHONE AMPLIFIERS A riot of gold brushed aluminium and LEDs, this Not up to modern standards sonically, but a great GRAHAM SLEE NOVO 2009 £255 distinctive machine squeezed every last ounce from symbol of the cassette deck art nonetheless. Dynamic headphone amplifier with a great sense of its 14x4 DAC -super musical timing. Crisp, clear treble and warm midrange gives YAMAHA TC-800GL 1977 £179 an involving sound. Early classic with ski-slope styling. Middling sonics by modern standards, but cool nonetheless!

SONY TC-377 1972 £N/A A competitor to the Akai 4000D open reel machine, the Sony offered better sound quality and is still no slouch by modern standards MERIDIAN 207 1988 £995 Beautifully-built two-box with pre-amp stage. REVOX A77 1968 £145 Very musical although not as refined as modern The first domestic open reel that the pros used at MUSICAL FIDELITY X-CAN V8 2008 £350 Bitstream gear. No digital output. home. Superbly made, but sonically off the pace these days. Open and explicitly detailed sound plus serious bass wallop . A great partner for most mid-to-high CAMBRIDGE AUDIO CD1 1986 £1500 end headphones. Inspired Stan Curtis redesign of Philips CD104, COMPACT DISC complete with switchable digital filter. Lean but tight and musical performer. TRANSPORTS CD PLAYER/RECORDERS ESOTERIC P0 1997 £8,000 MUSICAL FIDELITY TRIVISTA 2002 £4000 The best CD drive bar none. Brilliantly incisive, When playing SACDs, the sweetest, most lucid and ridiculously over engineered. lyrical digital disc spinner we've heard. Old school stereo, pure DSD design. CD sound is up in the TEAC VRDS-T1 1994 £600 £1000 class, too! Future classic. Warm and expansive sound made this a mid price hit. Well built, with a slick mech.

MARANTZ SA-1 2000 £5,000 KENWOOD 9010 1986 £600 The greatest argument for SACD. This sublime Ken The first discrete Jap transport was beautifully Ishiwata design is utterly musically convincing with done and responds well to re-clocking. both CD and SACD, beating most audiophile CD spinners hands down. MERIDIAN MCD 1984 £600 The first British 'audiophile' machine was a DACs sweeter, more detailed Philips CD100. 14x4 never DCS ELGAR 1997 £8500 sounded so good, until the MCD Pro arrived a year Extremely open and natural performer, albeit later. extremely pricey - superb.

SONY CDP-701ES 1984 £890 DPA LITTLE BIT 3 1996 £299 Sony’s first bespoke audiophile machine used a Rich, clean, rhythmic and punchy sound transforms 16x2 DAC to provide a clinically incisive sound; budget CD players. SONY MDS-JE555ES 2000 £900 supreme build quality allied to the pure unadulter- ated luxury of a paperbook-sized remote control. CAMBRIDGE AUDIO DAC MAGIC The best sounding MD deck ever, thanks to awe- 1995 £99 some build and heroic ATRAC-DSP Type R coding. YAMAHA CD-X1 1983 £340 Good value upgrade for budget CD players with Nicely built 16x2 machine with a very sharp and extensive facilities and detailed sonics. PIONEER PDR-555RW 1999 £480 detailed sound; sometimes too much so. Excellent PINK TRIANGLE DACAPO 1993 £ N/A For a moment, this was the CD recorder to have. ergonomics, unlike almost every other rival of the Exquisite; the warmest and most lyrical 16bit digital Clean and detailed. time. audio we have ever heard. MARANTZ DR-17 1999 £1100 SONY CDP-101 1982 £800 QED DIGIT 1991 £90 Probably the best sounding CD recorder made; built The first Japanese CD spinner was powerful and Budget bitstream performer with tweaks aplenty. like a brick with a true audiophile sound and HDCD involving. Brilliant transport more than compensat- Positron PSU upgrade makes it smooth, but now compatibility. ed for 16x2 DAC, and you even got remote control! past it. CABLES MISSING LINK CRYO REFERENCE 2008 £495/0.5M High end’ interconnects, with deliciously smooth, open and subtle sound without a hint of edge.

CAMBRIDGE AUDIO CD4SE 1998 £200 TECHLINK WIRES XS 2007 £20 A touch soft in the treble and tonally light, but out- Highly accomplished interconnects at an absurdly standing in every other respect. low price. Stunning value for money. VDH ULTIMATE THE FIRST 2004 £250 SONY TCD-8 DATMAN 1996 £599 Carbon interconnects that help you forget the elec- Super clean sound makes this an amazing portable, ANALOGUE RECORDERS tronics and concentrate on the music. Miraculous AIWA XD-009 1989 £600 but fragile. transparency. Tight and tuneful bass mixed with air Aiwa's Nak beater didn't, but it wasn't half bad and space. LINN KARIK III 1995 £1775 nonetheless. Massive spec even included a 16x4 DAC! The final Karik was a gem. Superb transport gives a brilliantly tight, grippy dynamic sound, albeit NAKAMICHI CR-7E 1987 £800 tonally dry. The very best sounding Nakamichi ever - but lacks the visual drama of a Dragon. NAIM CDS 1990 £ N/A Classic Philips 16x4 chipset with serious attention to power supplies equals grin-inducing sonics. WIREWORLD OASIS 5 2003 £99/M TECHNICS SL-P1200 1987 £800 Excellent mid-price design with a very neutral, silky CD version of the Technics SL-1200 turntable. and self-effacing sound. Superb value for money. Massively built to withstand the rigours of 'pr' use and laden with facilities - a great eighties icon. TCI CONSTRICTOR 13A-6 BLOCK 2003 £120 SONY CDP-R1/DAS-R1 1987 £3,000 SONY WM-D6C 1985 £290 Top quality ‘affordable’ mains outlet block, with fine Sony’s first two boxer was right first time. Tonally Single capstan transport on a par with a Swiss build and good sonics. Well worth the extra over lean, but probably the most detailed and architec- watch, single rec/replay head better than most standard high street specials, which sound coarse tural sounding machine of the eighties. Naks. Result: sublime. and two-dimensional by comparison.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 79 VINYL NEWS vinyl section contents APRIL 2019 www.hi-ﬁ world.co.uk

DUAL CS 460 AUTOMATIC TURNTABLE 83 Reviewed by Noel Keywood.

PRO-JECT BOX S2 ULTRA PHONO STAGE 89 Reviewed by Martin Pipe.

THE FINAL DAYS OF EMI 93 A book review by Paul Rigby.

THE ROLLING STONES Look out for a special, 50th anniversary edition release of ‘Beggar’s Banquet’ (www.abkco.com) presented in a gatefold sleeve, with additionally ‘Sympathy for the Devil’ as a 45rpm 12” original mono mix with an etching of the original toilet sleeve news image, plus a Japanese Flexi disc featuring a Jagger telephone interview from 1968.

WAH WAH From the Spanish audiophile label comes ‘The Book of AM, Part V: Night’. This is a long album project from 1977 via members of the Belgium outfit, Cosmic Trip Machine (which gives you a clue to the sound here). This particular release was not included in the original release sequence which means the sequence can now be formally completed for the first time. So, a bit of a bonus then. Also look out for Atila’s ‘Reviure’, the first release of this prog LP from 1978. A Spanish outfit influence by Floyd and King Crimson you’ll hear jazz/rock too. Includes an 8-page booklet.

MIKE + THE MECHANICS Another anniversary, this BRIAN ENO time a 30th and the 1988 Originally released in a album ‘Living Years’ from 1975 album, ‘Discreet Genesis bassist Mike Music’ is out once more. Rutherford’s band. Arriving It was Eno’s first real foray with a forty page booklet, into ambient music as a the edition includes two genre in which music is vinyl discs and two CDs gradually layered and then that hold the original changes evolve throughout. album plus live tracks. That The themes include both said, the second LP and CD calm and serenity while contains the bonus tracks from the the music offers a simple 2014 reissue edition. beauty.

80 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk VINYL NEWS

KATE MELUA Compiled by Melua, ‘Ultimate Collection’ (BMG) is a double album featuring twenty-three songs from the artist’s seven LP releases. Alongside a duet with Eva Cassidy on ‘What a Wonderful World’ are two new covers, ‘Bridge Over Troubled Water’ and ‘Diamonds Are Forever’. Includes a gatefold and vinyl section inner sleeves featuring notes from Melua, plus photographs.

DEMON A trio of new releases from Demon (www.demonmusicgroup.co.uk) includes The Human League’s reissue of 2001’s ‘Secrets’ but this edition features an additional disc of B-sides and remixes. Also look out for two snazzy compilations. ’The 70s Pop Annual’ includes Bill Withers’ ‘Lovely Day’, Sweet’s ‘Blockbuster’ and Dolly Parton’s ‘Here You Come Again’. ‘Disco Classics’ includes Anita Ward’s ‘Ring My Bell’, Heatwave’s ‘Boogie Nights’ and The Hues Corporation’s ‘Rock the Boat’.

...AND FINALLY From Shawn Pittman & Jay Moeller comes ‘Everybody Wants to Know’ (CCR; www.shackmedia.de) from which comes high energy electric blues. Two white guys with a Freddie King kinda thing. Those into original soundtracks should note the star-studded and recently released ‘King Of Thieves’ by Benjamin Wallfisch (www.milanmusic.fr). Think John Barry...now. José James’ ‘Lean on Me’ (Blue Note) is a tribute to Bill Withers featuring 12 songs from the great man over two discs but on only three sides (Side D is blank - wot, no etching?). Lovely voice, mellow and soulful and very Bill. Featuring a gold doily slipmat (oh, yes), the picture disc of Mr Vast’s ‘Touch & Go’ (mrvast.bandcamp.com/track/touch-go) features foodie images on both sides: brekkieside and supperside. Limited to just 300, the featured music includes manic, unhinged and slightly bizarre funk. Zement has release ‘Klinker’ (Sunhair; zement.bandcamp.com/album/klinker) the Würzburg outfit’s second LP. Motorik percussion, looping rhythm guitar, synths and more instrumental loveliness for Krautrock fans. Buy it. No, really. Buy it. J.P. Bimeni & The Black Belts’ ‘Free Me’ (Tucxone, tucxone-records.com). Great band name and a new album of old, old soul sounds. A clean, open sound, full of emotive power. Death metal fans watch out for Bloodbath’s ‘The Arrow of Satan is Drawn’ (Peaceville; www.peaceville.com). The band’s fifth outing and an inhumane release is it too. Nasty, cruel and beastly - a bit of a winner, then. The Pineapple Thief’s ‘Dissolution’ (Kscope; kscopemusic.com) combines rather subtle indie rock with prog flavours to create a score shining the light on technology and how it can alienate and isolate. Serious stuff. Stray Ghost’s double album, ’A Shade Under Thirty’ (Phases; www.phasesrecords.com) offers experimental electronica and modern classical piano full of portentous, hanging, extended chords, echo-laden soundscapes and slow tempo sorrow. Big Brother & The Holding Company (We Are Vinyl; wearevinyl.com), featuring Janis Joplin’s ‘Sex, Dope & Cheap Thrills’ retains the controversial original title and, instead of the original album, gives you two discs of alternative takes, thirteen previously unreleased cuts and sixteen tracks in all! Onto Ian William Craig and ‘Thresholder’ (130701; www.130701.com). Electronica inspired by quantum physics, black holes and space with, hi-fi fans, use of a: Fostex X18, Fostex A4, Sony TC-377 and TEAC 3440 and Craig’s treated vocals as a further instrument. Fascinating, atmospheric. She’s still singing, folks. Marianne Faithfull’s new ‘Negative Capability’ (BMG) featured Ed Harcourt, Mark Lanegan and Nick Cave. Full of rough- edged wisdom, she knows her way around a song. Like an ageing football player, the knees might have gone but she plays the game using her head instead.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 81

VINYL SECTION

An automatic turntable that does the fiddly bits for you. Noel Keywood reviews Dual's CS 460. Easy Rider

ere’s a fascinating return and civilised fashion – unlike units I’ve cueing. So good, this is how all turn- to the past: a fully auto- used in the distant past that clanked tables should work – but they don’t. matic turntable. Dual’s or even crashed their way through There are of course those CS 460 places its arm this mechanical ballet. You simply horrible little drawbacks, like nasty onto the record then place the LP onto the platter and it little gremlins trying to wreck lifts and returns it to does the rest, removing the likeli- everything. All the extra bits in Hrest after play. All in a smooth, silent hood of stylus damage from clumsy the mechanism needed to achieve www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 83 ��

Designed in conjunction with celebrated design house Møller-Jensen Innovation Design, the 2M Series ��

Red Cartridges Blue Cartridges Bronze Cartridges Black Cartridges A hugely popular all-purpose cartridge �� with a Tipped Elliptical stylus that which adds a greater resolution, picks up even the highest frequency �� delivers an open, dynamic sound with dynamics, and detailed sound thanks information for a rich, detailed and �� a slight touch of warmth. to the Nude Elliptical stylus. �� a true-to-life sound performance. upgraded with ease.

Distributed by Henley Audio T: +44 (0) 1235 511 166 | E: [email protected] | W: www.henleyaudio.co.uk

Ortofon 2M.indd 1 08/11/2018 14:10 VINYL SECTION

this add to cost and detract from performance. Autos were never – even in their heyday – considered top class. But let’s ignore that because nowadays people may well want to play LP without being faced by its handling problems and for them Dual’s CS 460 is a sweet solution by its very nature. It just has to do a decent job by today’s standards rather than reach audiophile status – and that’s how I’m approaching it for review purposes. The CS 460 is a belt-drive design, where a small d.c. servo-motor drives a belt wound around a plastic sub-platter. It comes with all this in place – no need to fit anything. A large metal platter fits over the sub-platter and this has to be slipped The moulded sub-platter is driven by belt from a d.c. servo-motor. on during set-up, and two transit screws removed using a crosshead must actuate the auto-system as well. usual by sliding the cartridge forward screwdriver (not supplied). Speed can It managed this at 1.5gms, showing or backward in its headshell. be set to 33rpm or 45rpm, a small how well the system has been As a traditional Dual the CS 460 slide switch providing a 78rpm option engineered, but I played safe all the looks and works much like those for those wanting to spin old shellac same. I have used in the past – and this 78s. The slim arm comes with a means with slick ability. It is idiomatic. removable No one does them any more: the CS headshell, but 460 harks back to the 1970s when its mechanical autos were king. Rega and Audio connector is Technica make strong alternatives at unique to Dual so a similar price – but they lack Dual’s universal SME-style auto-mechanism. bayonet connector Size-wise the package is normal headshells cannot be enough at a compact 430mm wide, A lightweight moulded substituted. The removable 365mm deep and 130mm high. The headshell carries a similarly headshell has a locking collar supplied acrylic dust cover that light Ortofon MM cartridge. that is simply unscrewed moves on sprung plastic hinges for removal, making cartridge swings up to 400mm high – the The auto-mechanism is set to place changing easy. Arm balance is set by clearance height needed on a shelving the arm down on a 7in diameter screwing the counterweight forward system. Build quality and finish are disc with 45rpm selected, or on a or backward, and a dial conveniently good, the solid plinth well finished in 12in disc with 33rpm selected. This sets tracking force. Bias can also be gloss black. However the turntable means that 12in 45rpm discs cannot set but arm height is fixed. Overhang assembly is lightweight – as Duals be played automatically, nor old 10in (lateral tracking angle) can be set as always were – and the anti-skate singles. Instead, with 45rpm set, the arm must be lowered manually using a cue lever that operates a damped platform. At end of side the auto mechanism still lifts and returns the arm to its rest, stopping the platter too. It’s very convenient; you’re not forced to get up at end-of-side to stop that relentless clicking of the locked run-out groove being played over and over. Although the CS 460 arm actuates a mechanical auto- mechanism Dual still confidently supply it with an Ortofon OM10 cartridge tracking at a very light 1.5gms. I used 1.7gms, at the top of Ortofon’s recommended limit (1.75gms), since the cartridge has an elliptical stylus on a rondel that are The rear counterweight sets arm balance and a dial applies not good midband trackers and it tracking force.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 85 CA_HFW_QuarterPage_Flat.pdf 1 24/10/2016 16:41:41

IAN HARRISON HI-FI SALE! HIFI AT DISCOUNT PRICES. FREE NATIONWIDE DELIVERY Email: [email protected] SPECIAL OFFERS!! SALE! UP TO 40% OFF!! CARTRIDGES UP TO 30% OFF PHONOSTAGES UP TO 25% OFF TURNTABLES & TONEARMS UP TO 25% OFF CABLES UP TO 40% OFF VAN DEN HUL MC10S £775, ORTOFON CADENZA BLUE £950,ORTOFON QUINTET BLUE £299 TONEARMS CARTRIDGES PHONOSTAGES TURNTABLES AMG AIR TIGHT EAR YOSHINO ACOUSTIC SIGNATURE CARTRIDGE MAN BENZ MICRO GRAHAM SLEE ACOUSTIC SOLID GRAHAM CARTRIDGE MAN ICON AUDIO AMAZON AUDIO HADCOCK DECCA LONDON LEHMANN INSPIRE HELIUS EMT MUSICAL LUXMAN MICHELL GOLDRING SURROUNDINGS MICHELL MOERCH GRADO PARASOUND MUSIC HALL MOTH HANA PRO-JECT PRO-JECT ORIGIN LIVE IKEDA PURE SOUND REED C KOETSU ROKSAN ORTOFON MY SONIC QUAD PRO-JECT ROTHWELL SRM TECH M REED NAGAOKA TOM EVANS T+A ORTOFON THORENS ROKSAN SOUNDSMITH TRICHORD Y SUMIKO TECHDAS WHEST AUDIO HIFI FURNITURE VAN DEN HUL ALPHASON CM HEADPHONE AMPS ZYX CABLES ATACAMA CREEK BLACK RHODIUM CUSTOM DESIGN FIDELITY AUDIO SPEAKERS IXOS HI FI RACKS MY GRAHAM SLEE ACAPELLA KUBALA-SOSNA CABASSE MUNARI ICON AUDIO PEERLESS CY EPOS MUSIC TOOLS LEHMANN PRO-JECT NORSTONE PRO-JECT HARBETH QED ICON AUDIO QUADRASPHIRE CMY SUGDEN OPERA AUDIO SUPRA SOUNDSTYLE Q. ACOUSTICS TRANSPARENT TRACK AUDIO AMPLIFIERS QUAD WIREWORLD K CREEK TAYLOR ACOUSTICS ZENSATI HEADPHONES EAR/YOSHINO AUDEZE ICON AUDIO CD PLAYERS RECORD CLEANING BEYER CREEK PROJECT QUAD EAR/YOSHINO ERGO SUGDEN ICON AUDIO MOTH GRADO TOM EVANS QUAD WIRELESS SENNHEISER Criterion Audio is a premium hi-fi dealer in Cambridge. From VALVET SUGDEN BLUESOUND ULTRASONE ACCESSORIES vinyl and valves to the latest in streaming and headphones, we DIGITAL STYLUS GAUGES, RECORD CLEANING MACHINES, CLEANERS, AUDIO CASSETTES can help you find the perfect audio system to suit your budget * PHONE FOR TERMS. PLEASE PHONE TO CONFIRM PRICE & AVAILABILITY PRIOR TO ORDERING. ALL GOODS ARE BRAND NEW & and needs. Call us on 01223 233730 to arrange a demo. BOXED WITH FULL U.K. GUARANTEES.NO EX. DEM OR EX DISPLAY GOODS. NO GREY IMPORTS. GOODS ARE NOT SUPPLIED ON APPROVAL. SORRY, NO GENERAL CATALOGUES. PLEASE PHONE OR WRITE FOR Criterion House, Oakington Road, Cambridge CB3 0QH SPECIFIC REVIEWS, BROCHURES OR PRICES. SUPPLIER OF HIFI PRODUCTS & ACCESSORIES SINCE 1986 MAIL ORDER ONLY FROM; www.criterionaudio.com [email protected] IAN HARRISON, 7 MILL HILL, REPTON, DERBY, DE65 6GQ. TEL: 01283 702875. 9am - 9pm INCLUDING SUNDAYS.

86 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk VINYL SECTION

DIN Rumble test disc confirmed its existence. This isn’t very impressive; the motor should be inaudible as it is in nearly all modern turntables. The whine was caused by motor vibration feeding through to the platter. I spun synth-based LPs like The Scissor Sisters to check for signs of Rear 12V d.c. power input and wow, since synth notes mostly lack signal leads. frequency modulation, unlike human violin players for example. Here the adjustment ring on our sample lifted CS 460 was steady enough, with no off whilst being set. obvious warbling or such like. Power comes from an external wall-wart universal supply that CONCLUSION delivers 12V d.c. (100mA) through In terms of sheer performance a thin lead 2m long, terminated by a Dual’s delightful CS 460 shows its Start/Stop lever at front, speed selection concentric d.c. supply plug. Perhaps age. The lightweight arm rides warps behind, then cue lever. surprisingly, since on-board power is well but lacks rigidity, there’s faint available, there is no integral phono- motor whine too – it was all a bit stage, so an amplifier with a Phono approximate. And Ortofon’s OM10 input is needed, or an external rather cruelly reveals noise and phono-stage. harshness in old LPs or even modern ones. SOUND QUALITY It isn’t romantic – and I can’t I used the CS 460 with our Icon help feeling potential buyers may be Audio PS3 Mk2 phono-stage, feeding looking for a bit of that. a Creek Evolution 100A amplifier All the same, the CS 460 is a driving KEF R5 loudspeakers through delight to use and it does offer a Chord Signature cables. way to let others in the household The basic sound balance is play LP without difficulty (or a bent determined by Ortofon’s OM10 stylus). I liked it as a well-functioning budget MM cartridge. Although blast from the past that makes playing technically it is a good design, at the LP a simple and enjoyable experience same time it lacks warmth and can for all the family. be very revealing. With older LPs or slightly harsh cuts, such as our Fleetwood Mac 'Rumours' LP recent- MEASURED PERFORMANCE remaster which for some reason has The turntable ran -0.7% slow, just within nominal, a good result. problems on vinyl (the 24/96 digital the 1% limit where pitch is audibly Speed variation was about as version sounds better!). Here, vocals incorrect to a trained ear. The d.c. expected for a traditional belt drive on 'Go Your Own Way' were forward servo-motor held this speed over a long turntable, measuring a mediocre 0.2%, and moving toward strident. period without any great wander from predominantly at rotational frequency That's not exactly the deck’s fault: SPEED VARIATION (0.55Hz) and its second harmonic it is very revealing but the OM10 I ((1.1Hz) our analysis shows. Above 5Hz Speed variations must candidly note doesn’t give vinyl 0.1 however there is virtually no flutter. This level of wow is common enough in smoothness and warmth. Revealing W&F DUAL CS 460 rather than romantic. (%) <– Rotational budget turntables and produces slightly TURNTABLE £699 rate 0.55Hz All was, however, fine with top- watery pitch rather than obvious slur. quality cuts such as Mark Knopfler’s 0.05 Our Bruel&Kjaer accelerometer, 'Kill To Get Crimson' or Lyn Stanley’s attached to the headshell, shows a large GOOD - worth auditioning 'Moonlight Sessions' (45rpm) but the and broad vibrational peak centred at 0.02 VERDICT first album from the Scissor Sisters 400Hz. This is the light alloy tube and A fully automatic turntable 0 was a tad edgy for example, as were frequency (Hz) 0.5 1 5 10 headshell both reacting to mechanical that makes playing LP easy many others. An Audio Technica AT- input from the cartridge. Rigid modern and damage free. 3600 is my preference in a deck like ARM VIBRATION arm assemblies manage considerably this. Obviously, the budget arm is better. FOR Arm vibration behaviour - ease of use just that and gave a decent enough 0.3 The CS 460 was mediocre all-round - three speeds Main arm sound, but as measurement revealed, Accel. tube mode under measurement, the arm in particular - appearance it’s not in Rega territory. This is a (g) I falling below what is possible at the nice lightweight design that rides 0.2 price. NK AGAINST warps well, but rigidity lags modern - bright sound - lightweight build Speed error -0.7% standards. 0.1 - motor whine With volume wound up, as I Wow 0.2% cued down into the lead-in groove of Flutter 0.07% Decent Audio Wow & Flutter (unwtd) 0.2% LPs I could hear faint motor whine 0 +44 (0)5602 054669 15Hz frequency (Hz) 6kHz Wow & Flutter (DIN wtd) 0.15% www.decentaudio.co.uk coming through the loudspeakers. A

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DOWNLOAD OUR APP ON APPLE AND ANDROID DOWNLOAD FROM iTUNES OR GOOGLE PLAY iPad, iPhone, iPod, Tablets OUT NOW! VINYL SECTION Discreet – and discrete! Martin Pipe reckons that Pro-Ject’s flexible Phono Box S2 Ultra punches way above its £200 price.

ver the past two decades were disappearing from amplifiers be configured for MM or MC carts or so, Pro-Ject has prob- as manufacturers were under the - can be yours for £200 or so. ably done more than impression that there was no longer Despite this, the Phono Box any other hi-fi company any demand for them – in an era S2 Ultra – a cost-reduced version when it comes to renew- when CD had become the primary of the limited-edition £300 Phono ing serious interest in music carrier. If an amp had a Phono Box Ultra 500, built into substantial Ovinyl playback among audiophiles fet- input it was a mediocre MM-only copper metalwork (for ‘heightened’ tered by modest budgets. Indeed, the design cost-engineered around an off- screening) and supplied in a fancy firm was telling us to ‘go analogue’ at the-shelf silicon chip or two. wooden box – is a flexible wee a time when everyone else was sold If you’re to get the best from beastie. Inputs and outputs are via on digital. And while Pro-Ject offers a vinyl, a properly-designed phono phono sockets and there’s a ground worthwhile portfolio of digital prod- stage that plugs into a line input post. The S2 Ultra’s small size ensures ucts, any of its developments that (Aux, Tuner etc) can be essential. that finding a place for it – close to happen to revolve (!) around those Such devices are also useful if you the turntable, maybe? – is never going magical black discs will always make envisage using a recorder or PC to to be a problem. Part of the reason us sit up and take notice. archive LPs onto digital media so for those diminutive dimensions is As well as their turntables, Pro- they can be enjoyed – for example that the power supply is external. Ject also have a neat line in phono – on the move. Whilst you can pay The 18V DC needed by the preamp stages. When the firm started its vinyl thousands for a phono stage, the Pro- is provided by a ‘wall wart’ that plugs crusade, integrated phono preamps Ject Phono Box S2 Ultra – which can into a mains socket.

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 89 VINYL SECTION

meaning that your low-end can be left unimpeded if desired to get that sense of deep subsonics LP can provide. If your woofer cones are flapping alarmingly, then best to turn on the filter. All of this is achieved without an op-amp in sight, Project instead relying on discrete transistors – this was standard practice, back in vinyl's ‘golden age’. Time moves on in other respects, though; extensive use is made of surface-mounted components. That's how Pro-Ject have managed to make the unit so small. SOUND QUALITY I drove two integrated amplifiers with the Phono Box S2 Ultra – an Arcam A49 integrated amp and the Musical Fidelity M2 Si reviewed elsewhere in this magazine, in both cases driving Quadral Aurum Wotan VIII 'speakers. To put the S2 Ultra through its paces, I used two turntables fitted The circuit board of the Phono Box S2 Ultra is busy, full of with very different cartridges. One transistors instead of generic op-amps. Decent-quality passive was a Technics SL1200 Mk2 Direct- components, like polystyrene capacitors, are also in evidence. Drive fitted with an Audio-Technica According to Pro-Ject “the split RIAA equalization” implement- AT440MLb MM cartridge, the other ed with this collection of devices “enables a pin-point accurate a Systemdek IIXE900 belt-drive fitted representation of the RIAA curve” to be achieved. The unit’s with Alphason Opal arm and Denon only chips are power supply components. DL304 MC cartridge. I matched the cartridge characteristics, as listed in A secondary advantage of Pro- The third valuable feature is a spec sheets, as closely as possible to Ject’s design is that mains supply subsonic filter, which is particularly the S2 Ultra’s loading. voltages are kept away from the useful when it comes to dealing The first thing I heard with the sensitive electronics that work with warped records. It’s switchable, Systemdek/Alphason/Denon was just with the tiny signals from phono cartridges - improved performance should result. Another route to the best sound is ensuring that the input of your phono stage is matched to the specific characteristics of your cartridge. And this leads us to the S2 Ultra’s second concession to flexibility. On the base of the unit are two rows of DIP switches – one per channel – that alter the electrical characteristics of the inputs, so that full compatibility with any cartridge can be achieved. The instruction sheet supplied with the unit gives the various switch permutations needed to achieve a specific resistance (10 Ohms to 47 kOhms for MM) or capacitance (100 pF to 420 pF), but falls short of providing user-friendly tables for commonly-used cartridges. The gain is also switchable between 40dB (MM) and 60dB (MC). On top of this, a further 3dB of gain can be added at the flick Two rows of recessed DIP switches – one per channel – of another tiny switch. This can be enable Phono Box S2 Ultra to be ‘matched’ to whatever car- useful for lower-output cartridges, or tridge (MM or MC) you happen to be using. A tiny screwdriver when digitising ‘quiet’ compilation LPs is needed to flip each switch. with numerous tracks.

90 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk VINYL SECTION

Gold plated phono sockets are used for signals both into and out of the Phono Box S2 Ultra. The highly-effective subsonic filter, which deals with problems like warped records, can be switched out of circuit if not required.

a naturally-wide soundstage, the "presented with depth, dynamics subtleties of Smith’s bassoon being definable without compromising the and a naturally-wide soundstage" orchestral strings that back him. An even older recording (EMI, 1958) of Dvorak’s New World Symphony how fulsome and well-defined the joy to behold. (Berlin Philharmonic/Rudolf Kempe) lower frequencies are. In Another After a quick reconfiguration was also a convincing listen, courtesy One Bites The Dust, from Queen’s I found that the Technics/Audio of the tonal range and stereo imaging 1980 LP The Game, John Deacon’s Technica combo fared perceptibly that could be conveyed. Chic-influenced bass throbbed better at the lower end of the scale. powerfully and tunefully – carrying However, the reverse was true in CONCLUSION along the track just as intended. terms of treble cleanliness and overall It’s difficult to find fault in a phono Switching to my mid-70s CBS clarity! It is a credit to the resolving- stage that sells for £200 and sounds pressing of Simon and Garfunkel’s power of the Phono Box S2 Ultra wonderful. It's sonic success is down Bridge over Troubled Water I found that such differences are laid bare. to careful design and its ability to that the footstomps and bass drum My ASV Digital LP of Vivaldi’s accommodate both MM and MC of Cecilia were given the room they Concerto in C for Bassoon and cartridges, as well as the use of need. Flipping the record over, the Strings (English Chamber Orchestra/ discrete transistors rather than depth and definition bestowed on the Daniel Smith/Philip Ledger) was silicon chips. Fantastic sound and bass harmonica of The Boxer was a presented with depth, dynamics and fantastic value!

MEASURED PERFORMANCE PRO-JECT PHONO BOX S2 ULTRA Gain values were exactly as described, (input noise) for both MC and MM. Gain (MM, MC) £200 x100 (40dB) for MM and x1000 (60dB) With MM this is way below the thermal x143 (43dB) / x1413 (63dB) for MC. The +3dB switch is a neat noise a cartridge produces. With MC Overload (MM, MC) 95mV / 9.5mV £ touch that provides exactly the right the situation is different – they produce OUTSTANDING - amongst gain step for low output MMs and MCs, virtually no thermal noise. The 0.15µV the best with MC giving a maximum gain from value is low and hiss will not be audible FREQUENCY RESPONSE MM the unit of x1413 or 63dB, measurement except with very low output designs VALUE - keenly priced showed. where a faint background hiss at the VERDICT Output overload measured 9.5V. ‘speaker will be audible; super-low noise This little phono stage does That equates to 95mV input overload inputs, typically using transformers, a wonderful job – Pro-Ject for MM and 9.5mV for MC, both good are 6dB quieter. For a budget design should be congratulated! figures our measurements of cartridge however the Phono Box S2 Ultra FOR output show; the unit will not suffer manages very well and hiss will not be - excellent detail and overload. audible with most MCs. dynamics Frequency response MC measured This is a very well designed phono - very musical - compact and practical flat from 20Hz-20kHz with the highest stage that is quiet, accommodates all FREQUENCY RESPONSE MC gain of 63dB – most challenging phono cartridges and has an excellent design because inadequate gain causes bass warp (subsonic) filter. Superb. NK AGAINST roll off. There is some slight plateau - DIP switches can be rather loss of low frequencies, meaning not fiddly a bass heavy sound. Switching in the PHONO (MM/MC) - a ‘table’ of settings for warp filter corrected this as well as Frequency response (-1dB) cartridges would be welcome attenuating deep bass very quickly. With 20Hz-20kHz Distortion (1kHz, 5mV in) 0.04% MM equalisation was more accurate and Henley Audio Separation (1kHz) 68dB the warp filter equally effective. +44 (0)1235 511166 Noise (IEC A) -93dB / -82dB Noise measured a very low 0.15µV www.henleyaudio.co.uk

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92 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk AUDIOPHILE BOOK Musical ending Paul Rigby reviews a book that delves deep into the end of a music industry legend EMI.

The Final Days of EMI: Selling the Pig Author: Eamonn Forde Omnibus Press Price: £20.00

’ve been waiting for a book a protective shield, one that was like this to appear for months previously part of a multi-interest now. Finally, here it is and affair, became increasingly vulnerable. it’s been written by a music What ifs? There’s plenty of BillyBilly Mann, Uli MückMückee who was parpartt business journalist – a relief those. EMI chairman Sir Colin of EMI Europe, Marco Alboni who because this story is largely Southgate could have sold EMI to was head of pop/frontline music at aboutI finance. Seagram’s Edgar Bronfman Jr. Instead, Capitol/EMI in Italy, Daniel Miller the It’s a sorry affair and signifies the Bronfman bought Polygram from head of Mute Records, Roger Faxon end of an era in terms of the greater Philips. Then there was the European the CEO of EMI at the time and music business, the dominance of the Commission’s block of the Warner many more. physicality of music in sales terms, merger with EMI in 2000. EMI then Issues discussed include how the nature of major label dominance thought about buying BMG. But then Terra Firma were welcomed into and the time when big music labels that same European Commission said EMI and how Terra Firma meshed strode over the earth and controlled that Sony was fine to merge with with EMI...or didn’t, the growth of artists in a similar way to the old BMG. internal politics, Terra Firma’s friction movie studio system and the Golden What would have ultimately with artists and established EMI Age of Hollywood. happened to EMI if any one of these staff members including the loss of I personally feel sad that, if any of business moves had been completed? Radiohead, its negotiations with The the big names was going to fall, that Forde talks about the lead up to Rolling Stones, the digital landscape, EMI should have been the one to go the laying on of Hands, as it were, courtroom dramas and much more. but that’s what this book details over and even at this early stage I was Then we get to the final chapter its 358 pages. impressed by Forde’s willingness entitled “Putting the Old Girl Out The popular consensus is that to get up off his backside and of Her Misery” and a final Vox Pop EMI died at the hands of Hands. Guy talk/track people down. There’s section where a number of voices Hands, the head of a private equity lots of voices here and it helps to give their opinion on the failure of company called Terra Firma. Hands provide comment from all sides, EMI as an ongoing entity. took control of EMI in 2007 and filling in all kinds of gaps in the As one anonymous EMI completely failed to keep control picture. Sometimes the sources executive has it “People say that Terra of the company which died in 2010. are anonymous but the voices Firm killed EMI. Terra Firma did not Long-term EMI staff pointed the also emerge, directly or indirectly, kill EMI. EMI, one way or another, finger at him and accused him of from the head of Parlophone, would have ended up in the hands of killing a 113 year old company in just Miles Leonard, the co-manager of someone else – Warner or whoever. three years. Radiohead Bryce Edge, Guy Hands [Terra Firma] where the ones holding Yet Forde digs further than himself, David Kessler (Terra Firma the parcel when the music stopped”. this. He looks back at 1996 when partner), ex-BBC head honcho John A sad yet informative read, this is EMI separated from its former Birt who was with Terra Firma at the a story that had to be told. Forde has parent Thorn and, because it lost time, songwriter and creative advisor told it well. PR

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94 HI-FI WORLD APRIL 2019 www.hi-fiworld.co.uk FREE READERS CLASSIFIEDS free reader

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NEAT MOTIVE 1 speakers. ELECTROCOMPANIET MARANTZ CD 5005 CD EPOS K2 speakers in white. Cherrywood veneer SPIDER CD clamp, black, Player, just under twelve Mint condition, boxed, less excellent speakers, mint. Excellent upgrade for months left on warranty than two years old, hardly excellent sound £475. ECM1 up one two or four. and boxed. Genuine reason used. £600. Email: London 07957384795 New price £295. Sell for for sale. Preferably, collect davidlsmither (Evan) £200. Tel: 01308 868 044 only, cash or cheque. @yahoo.co.uk Tel 01630 £120 ono. Also Marantz 685966. (Shrewsbury area) TECHNICS RSX950 stereo GARRARD 401, one owner CD 6000OSE CD player, double cassette deck. Very from new 1967. Domestic transport issue, free to WATERFALL AUDIO good condition, little used. use only. Good condition. good home. Contact Victoria Evo glass floor- Only fits Technics rack Spare interwheel. Collect Mike Bickley on michael. standing speakers (1 pair). system. Buyer collect. £35. only. Offers. Tel: 01472 690 [email protected] Brand new, open box. Email: barry.allchin 844 (Cleethorpes NE Lincs) Birmingham area. Superb beasts! Not even @yahoo.co.uk broken in. Yours for £1,650. VINTAGE HI-FI System VINTAGE VERY rare Audio Can be shipped at cost. MERIDIAN 566/24 Bit Deck transcription turn- Research SP6A valve pre- Email: paulheath72 DAC/Processor. Excellent table, Syrinks LE1 arm, amp (not hybrid) which @gmail.com condition, great sound. Sumiko Blue Point III used to be mentioned regu- Upgrade your system. £375 cartridge, 10 hours use. larly in Absolute Sounds SONY DVD Recorder ovno. Cash only please, Boxed.£350. Denon DCD advertising. £750 ono. Model RDR - HX1000. buyer collects. Tel: Terry 1700 CD player, remote, Also Meridian rare black Dual RW Compatible 01934 811 235 or 07868 boxed. £50. Can demo. Tel: 101pre, 104 tuner, 105 HDD 250GB Excellent cos- 480 165 01245 473 054 or Email: metic condition with cables, (2x mono amps each with (Weston- super-Mare) [email protected] remote and manual. Boxed. power supply) so stacked Offers please to 01795 3 high in pairs £695. 01704 QUAD 44 pre-amp, £250. WELL TEMPERED Classic 522224. 628968 or 07968769595 Dual turntables (2) work- turntable, £1400. Audio (Southport) ing order, £50. Pair ceramic Note silver interconnect 4 X KEF B139 bass speak- cartridge styli 150 plus Kondo Japan AN-P plugs, ers £60. Collection only. GRAHAM SLEE MC step many types. Offers. Pioneer £430. Marantz CD85 £430. LE12 location. Tel: Kevin up for between cartridge PL550 DD turntable, Wanted: Audio Note Oto 07561 106796 and phono stage. It is black superb condition, £500. Tel: early version. Tel: 0113 255 01708 457 691 9475 so matches older styles. WANTED: TOP quality Hi £95. Tel: 01704679165 or Fi separates and complete PROJECT DEBUT Carbon AUDIO RESEARCH 07968769595 systems, Naim, Linn, Cyrus, Esprit 5B turntable. Dali LS17SE £1000. JSAudio PMC, Audio Research etc, Zensor 1 speakers. Project upgraded Musical Fidelity I-POD CLASSIC 160 GB fast, friendly response and Tuner FM Box S. Project P270 2000w power £2000. £70. Cambridge Audio NP willing to travel/pay cash Headphone Box S ampli- Musical Fidelity phono stage 30 Streamer with Remote Please call me on 0781 fier. Project Phono Box M1ViNL £300. M6CD play- £60. Cambridge Audio 5892458 or Email me at MM. All boxed with manu- er 24/192 DAC £750. boxes DacMagic. Boxed £100. [email protected] als. Bargain £475 the lot. remotes manuals call Tom Onkyo ND-S1 I-Pod Dock Buyer collects. Tel: 07531 07809554827 Yorkshire with Remote. Not working. LEAK TROUGHLINE and 288 156 or 01159 754 070 Boxed. £20. Hi-Fi World and Hi-Fi World valve decoder (Nottingham) TARGET VINYL Storage Hi-Fi News magazines from set up by Tim de Paravicini rack £60. Tel:07900 694 245 1990s onwards. Offers less than a year ago, one of CANADIAN GUTWIRE (Hampshire) Tel: 07785 724849. the finest tuners anywhere! Synchrony 3 metre length Oxfordshire £700 Tel: 07940 507215 speaker cables. Superb - SUGDEN AU41 pre & Email: [email protected] totally new condition. £700. power amps. 112 watts per CAMBRIDGE DAB 300B, (Synchrony Interconnects channel. Collection pre- black, tuner as supplied plus HD83 OUTPUT available separately). Email; ferred, Pembrokeshire. remote. £100. Delivered transformers. Pair £100. stephen.adolphus@gmail. £350. Email: tandemon UK mainland. Tel: 01302 391 Buyer collects.Tel 01344 com. Tel: 07787 574784. @btinternet.com 030 (Doncaster) 776 445

www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 95 NEXT MONTH MAY 2019 ISSUE

WORLD DESIGN WD PRE4 PRE-AMPLIFIER A superbly built and finished valve preamplifier from World Design, graced by high quality sealed small-signal relays for consistent results and long life, plus beefy line drive output transformers to minimise noise. This lovely looking unit will be reviewed in our forthcoming May 2019 issue – don't miss it!

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www.hi-fiworld.co.uk APRIL 2019 HI-FI WORLD 97 CLASSIC CUTS LEO SAYER

JUST A BOY DEMON

ome artists - and that includes singers than you. You get people coming musicians - have as much personal- to the gigs saying ‘Oh you’re an incredible ity as cardboard, are as dull as a singer!’ and I say ‘No I’m not. I’m not Bobby blown light bulb and live a life as Bland...come on’. It kind of got embarrassing animated as a fridge. Not our Leo, so I was kind of saying in a way ‘I can’t life seems to find him. dance’. If you say you can then we will S He recently admitted that he walked believe you more. So I turned round in song past a camera scrum after spotting Lady and said ‘Of course I can dance!’ Then they GaGa in full regalia “I’m the mug who walked all go ‘Yeah you’re great!’ and suddenly it all right across the line of photographers and goes on. That’s very much America”. shouted ‘Hey Gaga, how ya doing?’ She was The LP also features ‘Giving it All Away’ so transfixed posing for photographers, she and ‘One Man Band’. What hits you when completely dissed me. A week later I got you listen to this album is the lack of artifice. this lovely letter from her, saying ‘Leo, I’m If Faith’s brothel idea was supposed to so sorry, I saw you but I couldn’t change the remove Sayer’s innocence then I reckon that pose’.” idea bombed. And thank goodness it failed. He’s also the guy who stormed out of There’s plenty of that on this LP and I’m all TV reality show ‘Big Brother’. Partly because for it. There’s a sense of the geek from Sayer "that appearance of the general toxic atmosphere but also on this project, someone who may be just because the show controllers wouldn’t a little bit awkward. There’s also plenty of can never be supply him with clean underwear. “They charm here with a suite of songs that are offered me a record deal” he said. “I needed delightful in their basic approach. The lack of shown on TV" a deal and you’ve got to have publicity. I complex production is a big plus point. knew it was a bad decision the moment I More than that, there’s plenty of song went in – actually, I knew the week before writing nous here with considered lyrics, – but there was no backing out”. a passionate series of vocal performances His first Top Of The Pops appearance that often have Sayer’s vocal chords on the in 1973, dressed as a Pierrot clown and verge of breaking point (witness the later singing the hit single ‘The Show Must Go parts of ‘When I Came Home This Morning’) On’ was going and going fine. “Jimmy Savile and music that merges musical hooks with a introduced me” he said. “Then f*****g Savile mature and rich rhythmic content. jumps on halfway through the song and Also, at this point in their career, in starts clowning around, so that appearance song-writing terms both Sayer and David can never be shown on TV”. Courtney were on a roll. As he told the Then there was the experience with his website, Super Deluxe Edition (www. original manager, ex-singing star, Adam Faith superdeluxeedition.com) “One Man Band who, upon signing Sayer, immediately took has Ry Cooder playing acoustic guitar on him to a brothel, to knock out his innocence. it. So that’s pretty cool. But that’s Adam “He wanted to make me a man, instantly”. (Faith) again, you see. He’d go to Warners Faith was a “loveable rogue” yet Sayer sued and say ‘I want your best guitarist, we’re Faith for mismanagement and eventually doing a session for Leo’. He had clout and settled out of court. persuasion”. Faith was managing Sayer when ‘Just a For many music fans, the peak of Sayer's Boy’ was released in 1974. Sayer wrote the creative output were his first three albums: lyrics and his colleague, David Courtney, ‘Silverbird’ (1973), ‘Another Year’ (1975) penned the music, achieving a Top 10 place and this release. Now you can own all three for the track ‘Long Tall Glasses (I Can in pristine condition because Demon has Dance)’. released the lot under the title of ‘Leo Sayer “Long Tall Glasses is really all about first - The London Years’ as a slipcase box set. playing in America" said Sayer. “You’re playing Including a singed photo, the new releases these gigs and all your heroes are better have been well mastered. PR

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