Contrary to popular belief, there is only a relatively loose connection between the technical specifications of an audio device and its ability to play music in an authentic fashion. Manufacturers today mostly compete with a range of similar audio devices on the market and need to attract buyers who will mostly be unable to hear the actual product, let alone test it out in their domestic environment, before making their purchase. In this scenario, customers will be comparing the technical specifications of a device rather than the product’s ability to convey the recorded music event with lifelike musicality.
Before the receiver wars of the late 1970s and early 1980s, and even more so before we started comparing prices and purchasing products online, HiFi electronics mostly had to compete with music events and the sounds produced by real-life instruments. Judgement on the performance of audio equipment was based on the ability to satisfy the human ear rather than ultra clean measuring results that would out-spec the competition. Tube amplifiers are a relict of such times, in that they provide more joy to the listener than they do to the reader of their data sheets. Even today, true High End manufacturers will place more emphasis on the subjective human perception of sound than on the objective data that is derived from measurements. Not surprisingly then, the merits of a given audio device are entwined with the personal history and motivation of the people who have spent much of their professional lives to create it.
I must confess that I am still a relative ‘newbie’ to the subject of turntables. Like most turntable owners around in the 80s, I was excited about the emergence of the new, super silent, digital technology that came in the shape of a shiny and more compact disc. And, honestly, at the affordable price range of an adolescent, the CD performed much better. I consequently sold my record player in the early 90s, never to look back until ... summer 2018, when we found a 1972 Philips 212 deck in our grandpa’s basement.
Lots of time reading and experimenting has passed since then. The Philips needed a new belt, bracket, and cartridge. We lubricated the moving parts, upgraded the internal wiring, and changed the output terminal from 5-pin DIN to RCA/cinch sockets. We checked the platter speed, corrected the azimuth, as well as the offset and rake angle. We made sure that the turntable was placed on non-resonant footing and was level with the ground. The result is astounding, and for the first time, our turntable actually does sound more impressive than CD, if the record itself is of a good pressing. Since buying a well-engineered LP can be a bit of a gamble, it is a good idea to share personal experience on sound quality, as I have started doing here.
The Lenco shown here was our second project. Once famous as a well-built budget player with surprising sound quality, it arrived here in pretty poor condition. We have had to remove motor noise, bring in new blocks, and adjust the other parameters described above to uncover its potential. The investment of time and effort has not been in vain. For audiophile listening, turntables should not be underestimated.
Author: Karsten Hein
Category: Gear & Review
Fritz and Marie Laeng founded the Lenco turntable company in Burgdorf, Switzerland in 1946. The name Lenco was derived from the Laeng’s family name, largely due to Marie’s initiative. In the time before turntable production in Burgdorf, the Laeng couple had already been fascinated with audio technology and had been running an electrical business since 1925. The Laeng’s genuine enthusiasm for sound reproduction resulted in reliable quality products and excellent service for the few units that were returned to the factory for reworking. Lots of passion, high quality, and excellent service proved to be a solid foundation for success, and the company soon opened a second factory in Italy to satisfy the growing demand.
Lenco partnered with specialist companies in the production of accessories that they could not easily produce themselves. Komet was a specialist for tube amplifiers and supported Lenco in producing turntable & amplifier combinations. Another, perhaps more famous, partner was Goldring, a specialist manufacturer of phono cartridges. Some Lenco turntables were marketed bearing the Goldring logo. In doing so, the lesser known Lenco of Switzerland was able to benefit from Goldring’s established sales network, a circumstance that made it easier for Lenco to reach out to customers around the globe. Within just a couple of years, Lenco was able to generate sales in more than 80 countries.
Sadly, Marie Laeng died at a particularly vulnerable time for the company, during the oil crisis of 1974. She had been the heart and soul of the operations, and the business was now simultaneously hit from at least two directions: a declining global economy and the loss of their chief motivator. A third hit was then caused by the influx of cheaper priced electronics from newly rising Asian countries that turned out to be the winner of Europe’s new price driven economy. Lenco AG Burgdorf declared bankruptcy in 1977, with the newly formed Lenco Audio AG taking over existing service agreements and completing what was to be the final generation of Lenco products.
The Lenco L75 was built from the early 1970s and designed to meet the challenges of a price driven market. Just affordable enough to be purchased by university students, it was designed with the intention of bringing audiophile sound quality made in Switzerland to a young consumer group. Despite the ever so slight rumble coming from the sturdy idler wheel drive construction, the woodcased Lenco included some welcome features, such as a floating cabinet, a newly designed tone arm with visible anti skating weight, and four playing speeds ranging from 78 RPM all the way down to 16 RPM. Available accessories included a strobe speed control disk for fine adjustment, a record sweeper with fixture on the deck, and record clamps to reduce vibrations. Today, the L75 ranks among the best idler turntables ever made. Especially audiophile listeners hold the L75 in high esteem, knowing well that even the considerable success of the L75 in the end was not enough to save the failing company from extinction.
Author: Karsten Hein
Category: Gear & Review
Built from 1971 to 1976, the Philips 22 GA 212 Electronic turntable is still considered to be among the best Philips turntables ever made. Better known as Philips 212, the unit has achieved somewhat of a cult status among vinyl fans and vintage collectors. Key features include a floating suspension of the platter and sub chassis that provides excellent shock protection and capacitive touch keys featuring green backlights. The unit shown here was built in 1972 and, with some maintenance, is still running smoothly without any audible noise coming from the bearings or motor.
The floating sub chassis results in a very low rumble value, and the light weight aluminum platter works quite well and does provide an interesting alternative to the more common approach of providing more mass to the platter and chassis. Playing speeds are set at 30 and 45 RPM and pitch can be independently (!) adjusted for both speeds. The Philips 212 came fitted with Philips’ own GP400 cartridge which was durable but little adapted to audiophile needs. The company’s own upgrade was the GP401 which offered greater sonic accuracy and detail.
On the unit shown here, the GP400 was replaced by an Audio-Technica at-VM 95 E pickup. The Philips 22 GA 212 headshell can easily be removed by pulling it out forwardly from underneath the tonearm bracket along with the wiring. A welcome feature, for owners who wish to have multiple cartridges at hand. The modern Audio-Technica easily outperforms both the GP400 and GP401. It provides an honest well-detailed and lavish sound, perhaps with a slight tendency to sounding unrefined. There are better cartridges in the Audio-Technica range, all of them being quite affordable, but considering the lightweight tonearm’s limitations of adjustment and control the VM 95 E is certainly a risk free choice. The original 5-pin DIN plug on this unit was replaced with Neutrik cinch/RCA connectors.
Author: Karsten Hein
Category: Gear & Review
Following the sale of our Tannoy DC6t speakers to a fellow audiophile in northern Germany, I again had some money to spend on explorations. Looking for improvements to make on our HiFi setup, I decided that much could be gained from upgrading the record player on our main system. While our Philips GA 212 still put out a solid performance, its tonearm and chassis did have some limitations in terms of cartridge upgrades, etc. For vinyl to sound even better, it was high time to change to a more sophisticated concept altogether.
I scanned the web for vintage offers and asked friends for suggestions. Among our choices were the typical Dual, Thorens, Denon, Technics and Micro Seiki brands, all offering well-known classics in their own right, but none of the more affordable ones looked attractive to me, until I came across an unlikely contender in the upper mid-market segment, the Sansui SR-525 DD. Based on a similar chassis and tonearm design as Sansui’s SR-323 belt-driven turntable, the SR-525 offers some significant upgrades, such as the quietest direct drive motor of its time and a quartz speed control with built-in strobe light. The technology is state of the art, especially for a 1976 machine, and I have read nothing but praise about this player.
This is no surprise, really. The Sansui Electric Company was founded by Kosaku Kikuchi in Tokyo, Japan in 1947. Similar to many of his contemporaries, Kosaku cut his teeth in the industry by manufacturing transformers and simple radio parts, until he realised that fluctuation in the quality of components was making it difficult for manufacturers to consistently assemble high quality devices. Kosaku therefore determined that Sansui should prioritise product quality over manufacturing cost. Later, as Sansui diversified into more complex products, this focus on quality proved to be beneficial to the reputation of the brand.
By 1954, Sansui was manufacturing preamplifiers and amplifiers that were sold both as kit for home assembly and as finished product. Although the first units were based on mono tube designs, stereo tube systems were introduced in 1958. By the mid-60s, Sansui’s internal and external design choices had earned the company a solid reputation for high quality audio products. It was at this time that the company started producing its iconic black-faced AU-series amplifiers. Among these were to be found many units that can well be classified as ‘High End’ and remain much sought after by audio enthusiasts until this day. The company produced its first turntable in 1967, a full nine years before the SR-525 came to life.
I found our SR-525 at a vintage HiFi dealer in Mannheim called ‘Goldladen’, combining the family name of its owner with the German word for shop. And although I had to pay a little extra for buying from a proper retailer, I liked the idea that I could drive there and inspect it, before making a purchase. Upon arriving at the shop, I found the Sansui to be in absolutely mint condition. With the platter raised, it was impossible to tell, if the motor had ever run, and there were hardly any scratches on the cover either. Standing in front of the SR-525, there is very little in its design, touch, and feel that makes it out to be a vintage player. In its simplicity and dark grey paint coat, it rather resembles the players around the turn of the century. The only item that gives it away are the clunky rubber feet, perhaps. But they do a fabulous job in keeping the record from skipping.
The tonearm is of sophisticated design with a suspended anti-skating weight and an additional lateral weight to keep resonances at bay. Its S-shape assures that the stylus angle is nearly perfect over most of the record’s surface. The Sansui’s total weight of nearly 10kg provides a solid base to absorb vibrations of any kind. At its original German sales price of 865,00 DM, it was nearly 200 DM more expensive than the belt-driven Philips, and this really shows. Other models in the SR series were the belt driven 323, the similar but wood finished 626, and the higher specced 929.
Do you have some personal experience with Sansui turntables? Please feel free to share your thoughts in the comments section below. Your perspective will be highly appreciated.
Tel.: 0151 241 643 55
Author: Karsten Hein
Category: Gear & Review
Following the stellar performance of our 1977 Sansui SR-525 direct drive turntable, I began scanning the web for other direct drive contenders from the 70s. And, since Technics had been the company to invent the direct drive concept, I was curious to learn how their turntables compared against the formidable standard set by our Sansui. By the 1970s and 80s, Technics decks had earned a reputation for being at the cutting edge of turntable technology. In addition to introducing and refining the direct drive, a design by which the motor shaft itself serves as the axis of the turntable platter, Technics was also credited with being among the first manufacturers to bring the sophisticated S-shaped tonearm to the mass market. I therefore decided that a Technics deck would be a worthy contender for exploration.
The brand’s most iconic turntable is arguably the SL-1200. To my knowledge, it is also the longest turntable in production. It first came out in October 1972, just one month after I was born, and continued to be in production until 2010. After a six-year break during the vinyl crisis, production resumed in 2016. Although primarily intended as a high fidelity consumer record player, the SL-1200’s superb build quality and high torque motor made it an instant success with radio stations and club disk jockeys. To date, more than 3 million units of this player have been sold. And, considering that it is back in production, we are still counting. Perhaps it is no surprise then, that an SL-1210 turntable is on display at the London Science Museum, as one of the icons that have shaped our modern world.
Since so much had been said and written about the SL-1200, prices for them used were quite high at my time of searching. This was even true for specimens that were in relatively poor shape and had been dragged around clubs, etc. Regardless of the condition, the name alone seemed to validate a higher price. I therefore decided to look for Technics turntables that offered a similarly sophisticated design but were missed by mainstream attention. I soon learned that the Technics 1310 offered much of the same technology that is found on its famous sibling, but this at a far lower price tag. And, due to its mostly domestic use, chances of this player having been dragged from club to club were rather slim. It appeared to me that the major differences between the two decks rested on their ability to absorb chassis resonances, to maintain exact speed in the event of physical force against the platter, and in the stress resistance of their lower chassis. In all these disciplines, the SL-1200 clearly had the upper hand.
And still, the SL-1310 can rightfully be considered an audiophile record player, even if it was not built to be carried around as a professional DJ or radio player. For my intended usage in our domestic environment, the SL-1310 had all the relevant features without the high price tag of its sturdier sibling. I began to narrow my search to the SL-1310 and noticed that cracked lower chassis were the norm rather than the exception. It seemed to me that the combined weight of the aluminium top casing and platter were simply too much weight for the lower plastic chassis to carry, especially when the Technics was moved carelessly. Other specimens had ugly scratches along the front or showed some discolouration of the body paint where they were mostly touched. Some had missing or broken dust covers, faulty mechanisms, or were simply missing the cartridge or stylus. On the positive side, most of these symptoms were relatively easy to spot. I therefore decided that I would focus on SL-1310s that were visually intact and would then see to it that functionality was properly restored.
The specimen that I ended up buying seemed to offer both. Its body and cover were in excellent condition with just a tiny hairline scratch at the front. It was still fitted with the original Shure M75 cartridge and ED stylus, a clear indication that this player had not been used much. There was no damage to the lower plastic body. The price still was relatively high, considering that the player was nearly half a century old, however, I decided to be open-minded during my visit to the owner. If the condition was as described, perhaps the higher price was justified.
Upon arrival, I found the player set up in the basement. It was connected to power but without an audio signal connection. I was informed that the owner had sold all his original HiFi components and moved on to more convenient Bluetooth devices. The SL-1310 was the last remaining item from the glory days of high fidelity. And although he remembered his turntable to have been in working condition when he had stowed it away some seven years earlier, we found that many of the original functions were no longer intact. The automatic cueing did not meet the start of the record. Instead, the stylus landed somewhere between songs, regardless of the disc diameter setting. We managed to set the speed for 33 rpm correctly, but all attempts failed when trying to stabilise the record speed for 45 rpm. A little confused by the number of issues, we estimated the price of repair, and he offered to deduct these costs from the offer price. Under these circumstances, I was happy to agree to the deal.
Upon connecting the Technics at home, I discovered that the player’s left audio channel failed after a few minutes of playing. I managed turn it back on by re-connecting the cinch cable, but shortly after, the left channel failed again. Unlike our Sansui SR-525, all Technics decks of the period came equipped with non-detachable cinch/RCA interconnects, a factor that made it difficult to locate the left channel’s contact issue and also seemed a hindrance to upgrading the sonic ability of the player. I therefore made a list of all defects and added to this the need for proper cinch/RCA sockets to be installed. Luckily, our trusted mechanic for such audio matters had some time available, and I drove by for a visit the next day.
In terms of product innovation, the SL-1310 carried the direct drive concept one step further than the original designs. While most record players of the time, including the Sansui, had their large motors sitting centrally under the platter, a concept that required a certain minimum height, the revised Technics design used the platter itself as rotor and the player’s chassis as the stator. The turntable could therefore have a lower silhouette, used fewer parts, dissipated less heat, lowered electricity consumption to less than 0,1 watts, and decreased resonances. Speed-accuracy was class-leading at the time, at just 0.1% error over 30 min playing time. It is often said that disc-cutting lathes of the time were less accurate than this. Due to the slow-revolving motor, rumble was found mostly outside the relevant frequency band, namely from 20 - 35 Hz. The two peaks measured are at around 22 and 34 Hz. And of course, the iconic Technics platter showed a wide tapered rim with strobe markings for 33-1/3 and 45 rpm synchronisation at 50 or 60 Hz, i.e. four dotted lines in total.
As it turned out, our SL-1310 was mostly suffering from corrosion to the switches that had accumulated over the years. This was most likely facilitated by moisture while being stored in the basement. We discovered that most switches could be taken apart to be serviced. Only one of them, the one to set the record size, was beyond repair and needed replacement. Two holes were bored into the back of the turntable to hold the new cinch/RCA sockets. This step enabled me to use my own interconnects with this player, a seemingly small improvement but with a major impact on sound. The faulty left channel turned out to be caused by a loose connection inside the Shure cartridge itself. It was decided that we would heat the relevant pin with a soldering iron, until we could push the pin a few millimetres into the cartridge housing. The trick worked, and both channels played music again.
Back at home, I connected the Technics SL-1310 to our office system and was very pleased with the way it performed and handled. I set the 'Memo-Repeat' dial to 'three (3)' and the platter started spinning silently. I then pulled the lever downwards to the 'Start' position. The player reacted by gently lifting the tonearm and setting it down at the start of the first title. I noticed that the placing of the needle could have been a bit gentler, perhaps. However, the small thump it produced was still within reasonable limits. The Shure M75 with elliptical stylus used to be a mid-market cartridge back in the day and could not rival the Shure V15 that was found as standard on German-made High End Dual turntables. However, in typical Shure fashion, the M75 ED put forth a warm and delicate sound with long-trailing decay. It may not have exhibited the bass-slam of the Shure 6S, but it did play accurately and endearingly. It seemed to me that upgrading to the V15 cartridge, perhaps with a Jico replacement stylus would be a welcome but costly alternative for a later day.
The Technics SL-1310 itself could certainly do with some additional decoupling of the chassis. Right from the start, I noticed that any touching of the rack had a similar popping effect as the touching of a microphone. This effect vanished completely, after I placed the Technics on four Oehlbach isolation pads. Since the player is rather heavy with its aluminium platter and aluminium top-chassis, it remains wonderfully stable, despite the inherent softness of the pads. Among the features that I enjoy most about this player are its automatic functions that keep me from having to crawl into the small space under the slope of the roof where our system stands, and its life-like three-dimensional presentation of the music. Paired with our Hafler XL-280 power amp and Tannoy speakers, a deep holographic image of the stage is projected into the room right in front of me. Not bad at all, especially for a deck that is nearly half a century old.
Type: fully automatic direct drive turntable
Platter: 312 mm aluminium diecast
Speeds: 33 and 45 rpm
Motor: ultra-low speed, brushless DC
Motor Power Consumption: < 0,1 Watts
Wow and flutter: < 0.03% WRMS
Rumble: - 70 dB
Tonearm: S-shaped, tubular, 4-pin connector
Effective length: 230 mm
Effective mass: 23g (incl. 6g cartridge)
Effective length: 230 mm
Tracking force adjustment: 0,25 to 3g by 0.1g
Cartridge weight range: 4,5 - 9g
Dimensions: (W) 430 x (H) 130 x (D) 375 mm
Power consumption: 8,0 Watts
Power Supply: AC 110 - 240V, 50/60 Hz
Weight: 9,4 kg
Year(s): 1975 - 1977
Some people will argue that the time of analog radio tuners is over and that there are better ways of receiving signals and processing these into sound. Yet, despite many announcements that analog radio will be phased out from our public broadcasts, analog radio is still the norm rather than the exception. This may have to do with the long signal reach into remote areas that are not yet covered by the digital network, it may have to do with the number of analog radios still out there, and it may also be a strange form of nostalgia.
Be that as it may, it is probably fair to say that the people who support analog radio for the sake of its sonic abilities are few and far between, although they may have a valid point here that should be more relevant than the others. On clear nights, analog sound still has its soft and special charme, simply because there is no translation into digital involved. And because of this, there is an element of a sweet caress to the ears that is more than romanticism in that it satisfied a longing that is very human indeed.
Author: Karsten Hein
Category: Gear & Review
Nikko Audio was a division of the Japanese electronics company Nikko Electric Industry Co, which was formed in 1933 in Kanagawa. The company's audio components earned a good reputation, however the brand only reached a limited distribution and during a general decline in the market in the 90's, the division was forced to close.
The history of the Nikko Audio company reads like a rollercoaster ride between a genuine interest in high quality products and inexplicable failure in managing to sell these to the world. The original ‚Nikko Electric Works‘ was re-founded shortly after WW2 as a designer, manufacturer and installer of communication technology and electrical equipment in Japan. In those early years, Nikko mostly manufactured fuses for the Japanese National Railroad - until the daughter of the boss married a young audiophile lad who allegedly had "golden ears" and persuaded his father-in-law to put on a range of HiFi products, a process that began in the late 1960s. The son-in-law understood about good sound, but he was only marginally interested in the marketing of his products, so that he initially developed devices that were very good, but also very expensive and therefore difficult to sell.
With the Audio Division hardly generating enough income for itself in the 1970s, Nikko was forced to revise its strategy and spin off into various foreign subsidiaries. The product range was streamlined and most of the early High End gear was removed in favour of less expensive and therefore more marketable equipment. Although the product quality was easily able to keep up with the competition, they did not perform in terms of sales, which was mainly due to their overly conservative appearance. In contrast to Sony or other big names with their brushed aluminium fronts, Nikko designers could not (or did not want to) follow this trend and therefore had a hard time holding their own in the market.
A later reorganisation of the product range saw the launch of compact equipment in the lower and medium price range. Nikko also entered the German market with these products, among others; they were introduced via various importers and then sold preferably via department store chains or mail order (i.e. the low-cost segment). Soon, a name and products that were still relatively unknown but that had been poised for greatness sold out to the market and the company finally closed business following the general market slump after the Asian flu at the end of the 90s.
The FAM 600 tuner shown here is of elegant design, not only from the outside, but also in terms of the simplicity found within. It came pre-equipped with outputs for quatrophonic users (the big idea at the time) and feels great in the choice of materials. The company’s High End origins still shine through on this device. Although there are better tuners e.g. in the higher Sansui price ranges, this unit offers a great way to experience analog radio at its best. As analog listeners will know, there is radio weather - and then there are those other times, when something is just not right in the universe. On good listening nights, the analog experience, if done right, has all the magic it takes for us to lose ourselves over and over again. connectors.
Moving clockwise from top center we can identify the back of the operating panel, the transformer and, below this, the circuit board of the customer made power supply. The 5-pin DIN is located in the bottom right corner, inconveniently just above the power cord. Antenna inputs are in the lower left corner and above these is the tuner's main board. The large tuning rotary capacitor is in the top left of the board. A copper sandwich floor protects the underside of the board from electrical interference with all the internal wiring remaining hidden from view.
The CD offers decent quality music in a compact digital format. It offers a 44.1kHz sampling rate at a depth of 16 bits per sample. The parameters were chosen to cover the full span of human hearing from 20Hz to 20kHz. While this should be enough to replicate most musical information in bits and bytes, in recent times, it is often produced using downsampling and/or bitrate reduction - e.g. when the master file is recorded at 192kHz sampling rate and a depth of 24bit, as is common in Jazz and Classical music. Attempts have since been made to increase the sampling rate and bit depths in formats such as SACD and BlueRay Audio, but these failed to reach a market that had already abandoned the high quality audio sector for high convenience audio, such as MP3 and music on demand services.
It is not surprising then, that sales of vinyl records have recently again surpassed those of CD, the first time in a quarter of a century. With audiophile listeners flocking to fashionable high-res streaming services, ownership has become a rare privilege and is best celebrated and contrasted by the meticulous ritual of playing and storing vinyl. Yet, in midst of all this, there is still lots of fun to be had with CD players, as there is more to setting them up and extracting an audiophile experience from them than may first meet the eye.
To have the most options, make sure that your CD player comes with a digital coax output in addition to the more common Toslink connector, as well as RCA/cinch, of course.
Author: Karsten Hein
Category: Gear & Review
Having owned the smaller brother, a Denon DCD-1420, for some time now, a look under the hood revealed larger placement markings around the smallish capacitors that showed the dimensions of the parts used on ‘the real thing’, namely, the larger DCD-1500 unit. And, although the DCD-1420 is a reliable middle-class player, even after four decades, I have often asked myself, what I would be hearing, had I bought the fully equipped unit instead.
Therefore, when Luigi showed me two CD-players and asked me which of the two to get, I had a strong leaning towards the Denon DCD-1500 II. The photos we saw showed it in good used condition, but they were far from impressive. Both the Denon’s size and design did not give away its exceptional build quality and internal merits. To me, it looked like just another CD player. This impression changed, when I visited Luigi and saw the player, with its display turned on, perched on a proper HiFi rack. Although its size had not changed and its design was still an understatement, there now was a cleaned-up seriousness about it that made me curious at an instant. This was certainly a whole other beast from my 1420.
Luigi played me a few songs on the Denon DCD-1500 II before he switched to vinyl. While I usually cherish the transition from digital to analog, I noticed that I was a little sad to stop listening to the 1500 so soon. Perhaps this was because the player’s cleaned-up looks had been wonderfully present in the music as well. While the player had not sounded spectacular by any means, the music simply had this air of dependability to it that made it endearing to my ears. I had instantly trusted this player to sound pleasant. The lack of this quality is often an issue with CD players; actually, when audiophiles describe devices as sounding analog or warm, it is sonic dependability rather than spectacle that they are referring to.
Luigi suggested I should take the Denon home with me, explore it further and, perhaps, write a review on it, to which I gladly consented. When I was ready to leave and picked the Denon up from the rack, I was surprised by its weight. For a moment, it felt as if it had been glued to the boards. This aspect of the player is so well hidden, it struck me by surprise, despite having read in the advertisement that it was close to 10kg. Coming from a larger and higher built amplifier, the weight would not have surprised me, but from a standard-looking Japanese consumer device, I was positively surprised.
When I came home, I placed the Denon on our conference table and opened the chassis to look under the hood. While the top cover was made of the same bent metal as is custom on today’s units, I did find a 4mm sheet of lead glued to the inside of the cover. This certainly helps to keep the typical drive and chassis resonances at bay and also increases the player’s resilience in case of resonances coming from the outside. I guess anyone could glue a sheet of lead under the cover of their CD players to the same effect, but thinking of my DCD-1420, I could see how pointless that would be, considering that it was not even made of Denon’s full-size parts.
While performing the first operations on the DCD-1500 II placed in our rack, I noticed that some of the buttons on the front were actually made of metal. This has some advantages when it comes to durability. On our silver 1420 for instance, some of the more frequently used buttons have already lost their silver shine. This was not the case on the 1500. Like many of Denon’s players, the 1500 features both a fixed and a variable output which can be convenient in some cases. For any listening test, I used the fixed output to leave out any unnecessary augmentation to the sound. The CD transport is of excellent quality, and the drawer opens promptly and quickly.
In our living room setup, the 1500 had to compete with the 16-years younger 3.7kg lightweight Rega Planet 2000 CD-player, which was our standard choice for CDs. The interconnect used on both devices was a new type of silver solid core with KLE Innovations silver plugs that had been custom made for eiaudio.de and had not been completely run in. This is to say that bass extension had not completely evolved after two weeks of playing. Since this was our best interconnect at the time, I decided that I would stick with this cable despite this small flaw in the setup. The song played was “No Moon at All” on Diana Krall’s ‘Turn up the Quiet’ album.
The Rega came first and played this song with realistic dimension and tonality. I found that timing could at times have been better, with the player showing a slight tendency of dragging its feet, but overall it was an accurate representation with lots of warmth, musical detail, size, and natural space around the instruments. The DCD-1500 II came next and, in comparison, played slightly darker and fuller with a striking three-dimensional richness in Diana Krall’s voice. It did not present the same amount of detail; however, its timing was more accurate with slightly more drive and consistency to it. The Denon came across as slightly more controlled and dryer with individual notes being stopped earlier. The Rega in comparison appeared to be less predictable, was able to present more of the disc’s nuances, gave a fruitier performance and allowed the music more space to perform.
Both players sounded very pleasing, are excellent companions for extended late night listening sessions and renowned for their warm and analog sound. The Denon is surely the mechanically more sophisticated player, whereas the Rega wins its points on the basis of modern DAC circuitry, a more detailed presentation, and lots of musical charm. Considering that the Rega has a 16-year edge over the Denon, the DCD-1500 II a still very good and worthwhile CD-player, indeed. Its build quality, touch and feel, general usability, and its excellent remote control position it well ahead of today’s mid-market competition.
Testing environment: Denon DCD-1500 II (via HBPS pure silver solid core interconnects to) DB Systems DB1 preamplifier; (via Audiocrast OCC and Silver interconnect to) B&K ST140 power amplifier; (via Belden 9497 speaker cables in bi-wiring to) Martin Logan SL3 electrostatic speakers
Author: Karsten Hein
Category: Gear & Review
Frederick Whitney Horn, an American entrepreneur, started the Nippon Denki Onkyo Kabushikigaisha in 1910 as a subsidiary of the Japanese Recorders Corp. Even before record players, cylinder recorders were common, and Denki Onkyo produced both the media and the players for them. Following mergers with other companies, the name was shortened to DEN-ON which later became Denon. The company was, next to Philips and Sony, a front runner in the development of digital technology and has made a name for itself as manufacturer of professional studio machines as well as HiFi products for the private user market.
The Denon track record of providing new ideas in music reproduction to the world is quite immense. In 1939, Denon manufactured the first (analog) disc recorder for use in the broadcast industry. In 1951, the company played a major role in selling the first long play records to the Japanese population. Two years later, Denon launched a well received line of reel to reel recorders for the broadcast industry. The first Denon HiFi components were launched in 1971. Among them were turntables, amplifiers, tuners, and speakers. In 1999, Denon produced the world's first THX-EX home theater system, in collaboration with Dolby Laboratories. Over the years, Denon has won many prizes for its outstanding contribution to the industry. Recent trends are up to 13-channel multi-channel and wireless multi room systems. Although the company has also produced some outstanding High End components, the bread and butter business has always been divided between their professional line and HiFi products for the broader consumer market.
Some of Denon’s outstanding consumer to High End products were, among many others: the TU 400 Stereo Tuner (1977): the rather peculiar two-coloured PMA 850 amplifier (1977); the DCD-1800 CD player (1985); the by any standard enormous POA-S1 mono power amplifiers (1996), and the Denon DL-103R Shibata cartridge for vinyl fans. The DCD-1420 that is shown here is not listed in the Denon Hall of Fame, as even at that time, there was the more sophisticated (10 Kg) DCD-1520 with better specifications. Despite its non-cult status, I decided to include it here, as it is a great player to begin your explorations in audio. It is well constructed, relatively easy to repair, nearly all parts for the laser drive can still be bought, and the usability is simply excellent. I love the fact that I automatically starts playing when I turn it on and that I can use the numeric keys on the unit to jump straight to the title, even if I do not have the remote at hand. The large display is dimmable and adaptable in content, which is useful for nightly sessions.
Going through the player’s internal DAC, the sound is detailed and leaning towards refined, but it feels a bit light and is lacking the stamina and tonal balance of higher priced units. Since the DCD-1420 has a digital coax connector, one can connect an external DAC, and this is where the fun begins. Putting the player on a base with absorbers and placing a ferrite clamp on the power cord inside the unit as well as outside, have greatly contributed to the musicality of the player + DAC combo. I might be a little biased, however, having owned three of these players over the years. All of them should still be playing just fine, I would assume.
Author: Karsten Hein
Category: Gear & Review
Saul Marantz built his first audio product, the ‘Consolette’ preamp in Kew Gardens, New York. Although the Marantz Corporation today have their headquarters in Kanagawa, Japan, the Marantz success story began in America and reached its biggest relative success in the 1970s. Throughout its lifetime, the company formed joint ventures and changed owners many times. With the emergence of CD technology in the 80s, for example, Marantz partnered with Philips to manufacture CD players under the Marantz brand that were generally well received. Ownership was only transferred to Japan in 2001, when Marantz Japan bought the brand from Philips and, in the following year, merged with Denon to form the D&M Holdings Inc. After 28 years of partnership, Philips sold the remaining stakes it held in Marantz in 2008, and the Holding is today owned by Sound United LLC.
Among the company’s most noteworthy products are the Marantz 2325 and 2600 receivers, the CD63 and, more generally, the Ken Ishiwata signature product series, such as the Marantz PM-KI Ruby and the Marantz CD17-KI which is shown here. When it was released to the public at the end of the 1990s, the DC17 was already well-received by the audio world. With plenty of detail in treble, a clear and full mid range and Marantz-typical bass extension, the sound was described as ‘analog’ and attracted vinyl fans all over the world. However, there was also another aspect to the CD17 that was troubling audiophiles, as it also marked the departure from the fabled Philips swing-arm laser as well as other former brand features, such as diecast chassis and metal loaders. At the turn of the century, sales of high priced audio products were on the decline and cost driven choices became the new norm all around.
The CD17 Ken Ishiwata signature, 1997, is Marantz’s attempt to re-imagine a world in which cost cutting had not taken place. The ‘money-no-object’ approach did not mean a return to the swing-arm laser or diecast chassis, but it did introduce some interesting features, such as an upgrade to the drive unit, a full copper shielding of the interior, a toroidal transformer, upgrades to the analog stage, improvements on current noise cancellation, etc. The result is a super silent player with a sophisticated sound stage. Similar to the outer design of the unit, there is not much splendour or extravagance to the music, but if you prefer to be caressed rather than impressed, the Marantz CD17-KI is not a bad choice at all.
Author: Karsten Hein
Category: Gear & Review
I first came across the Philips CD 104 in the early 1990s, when a school buddy of mine was looking to buy a used CD player and asked me for support. Since he was a ‘Philips man’, we checked the journals for budget offers from this company and ended up visiting a CD 104 owner to audition his player. At the time, I was used to the soothing amber glow and sleek modern design of JVC players, and the Philips struck me as being smallish in size and particularly ugly. The buttons seemed oddly out of place. And yet—against my advice—my friend ended up buying the unit and seemed rather happy with his purchase. The player was 8 years old at the time, and I must have been around twenty.
Back then, I was still unaware that Philips had been the company to introduce the CD player to the world, alongside Sony, in 1982, or that the CD 104 had only been the company’s second model. And since my friend had carried the player out of the house by himself, I was also left unaware of the seven kilograms in weight that the compact design so cleverly concealed. As far as I could see, my friend had simply paid too much for outdated junk. All the more, I was surprised to see a rather beaten up looking CD 104 perched on a CREACTIV HiFi-rack at a fellow audiophile’s house—in fact, as the only CD player among some famous turntables and amps. “If done well, the 104 has the potential for greatness.” my friend insisted. I was highly sceptical. This was in 2015, the player was 31 years old, and I was around forty-three.
A few weeks after my visit to the audiophile friend, our 5-year-old Marantz SA 7003 CD player quit working for the second time. The first time had been due to belt failure, and this time the laser had settled and could no longer read any medium. I was furious, and we decided that we would sell it broken, fully prepared to take a hefty 500 EUR loss. To us, the Marantz was not worth repairing, as its transport had been rather loud from the very beginning, with the servo correction being constantly in action. Experiencing such poor quality from a well-known brand destroyed my trust in the achievements of modern HiFi. How was it possible, that a more than 30-year old player could read CDs completely without servo noise and access individual titles faster than a 2010 state-of-the-art Super Audio player? How could the old player run for a great number of years without service, while the new unit seemed to break down every two and a half years?
I did some research on CD players and found that modern machines, even High End ones, are of modular construction with standardised and highly integrated circuits. Manufacturers essentially purchase and combine finished modules, box them in some uniform housing and stamp their name on the units. Sadly, this is done without the manufacturer having much influence on the quality of the parts, nor on the unit’s abilities in terms of sound reproduction. For example, I found that the laser on the broken Marantz player had been built by Pioneer and that many products using this type of SACD laser ended up having the same issues. What is the point of buying a Marantz, one might wonder, if the essential parts in the machine come from other manufacturers and are destined to fail? To make matters worse, modular construction often means that items such as transport and control, D/A converter, S/PDIF decoder, clock and perhaps even the output stage are combined into a single module. This scenario does not leave much room for the manufacturer to intervene, augment and improve the sound.
In the late 70s, when Philips set out to build the CD 104, things were quite different. Because the technology was new, Philips had to take full control and responsibility over the whole process. The new technology still had to prove itself to audiophiles with the money to spend. For the offer price of over 2,000 DM, and with few discs available on the market, the vinyl record player was still hard to beat in terms of sound. Philips had to give their new creation all the love and attention they possibly could. The CD 104 has a full metal chassis and includes the CDM-1 transport that Philips developed by themselves. The basis of this is a cast-iron form which holds a sophisticated swing-arm laser paired with six Rodenstock glass-lenses. In terms of musicality, the CDM-1 is considered to be the best transport ever made. Following the audiophile rule of “garbage in = garbage out”, a flawless reading of the source material is the basis for musicality.
While Philips engineers included everything they understood about transport construction to get their first players right, the focus of later players was to make the technology more accessible to the average consumer, and this meant bringing costs down. Iron, metal and glass gave way to plastic. And, since software and electronics are cheaper in production than precision optics, modern CD players will correct the tolerance of mediocre transport optics by using their servo motors and error correction at full capacity. Since these features are on board anyway, they might as well have a job to do, right? Before customers notice the handicap, and before their players fail, the warranty period will have expired. This explains why we could hear the servo motors on our Marantz SA 7003 CD player from the very beginning, and perhaps also why the player failed after a short five years.
When the Philips CD 104 tray opens, the sound, speed, and grace is similar to that of a bank volt opening. I catch myself holding my breath each time, hoping that it will once again make the full journey, just as it has so dutifully done for four decades. The player that Luigi brought by our house for testing has been skilfully reworked and upgraded to combine the physical assets of the eighties with the electronic insights of today. And although we are not quite certain to which extent the upgrade was made, typical improvements include making full use of the CDM-1 transport and the player’s two legendary TDA1540 mono multi-bit DACs by eliminating the digital oversampling and the analog filter in the output stage. Eliminating S/PDIF and jitter, and correcting channel delay. Further upgrades may include replacing the analog output amp from the original 35 transistors version to just two high quality FETs per channel, improving internal shielding, wiring, etc. German mods are currently available from Roman Groß ‘New Perspectives on Sound’ and from ‘KR High End Laboratory’.
From the outside, our unit shows gold-plated RCA/cinch sockets in place of the formerly fixed cable and plugs, as well as a three-prong power socket to allow the connection of a higher quality cord. The finished player not only surpasses its original setup in terms of sound performance, it also beats most of today’s players in terms of tonality, nuance, soundstage, and musicality. If the 14-bit DAC was ever considered to be a handicap by hasty customers, I can assure you that no handicap is audible at all. In fact, the later Philips 16-bit TDA1541 DACs (corrected 31.05.2021: see below) were used in Sony’s High End players well into the 1990s, which says a lot about what Sony thought of the Philips DACs.
Although I was quite sceptical at first, just a few seconds of listening made it clear to me that this vintage player performs well above the level that I was used to from our Marantz CD-17, an audiophile legend in its own right. CD never sounded this good in our house. If Marantz’s CD-17 is best described as sounding ‘analog’ and ‘warm’, I would not even know how to attribute special character to the Philips CD 104 NOS modification, except to say that it sounds —real.
At the time of writing this, the player is 37 years old. And just last night, I showed it to my seven-year-old daughter, and she ended up dancing to an Alin Coen CD.
Author: Karsten Hein
Category: Gear & Review
It is sometimes suggested that the CD today is an outdated medium, and that its prescribed 16-bit, 44.1 kHz Red Book standard places it well below the musical abilities of other analog and digital devices. This is no wonder, of course, as today’s audiophile competition comes in form of high-resolution formats from digital streaming services and from the analog revival that, after decades of stagnation, has once again led to rising vinyl sales. In addition to this, the CD is sidelined by audio formats of lesser significance, such as Super-Audio CDs, DVD-Audio, reel-to-reel, etc.
And yet, the medium has a lot going for itself. For one thing, it is tangible. Touch is something that a subscription to Tidal or Amazon HD is sorely lacking. While it is true that many CDs are sitting on our shelves never to be heard again, there are currently around ten CDs in our home collection—mostly Jazz and vocal Jazz albums—that are getting all the attention they could ever ask for. And then there is the pride of ownership, of course, as the hunter-gatherer in me is enjoying the fruits of said labor. And—since the laser does not physically touch the track while reading—there is no immediate worry about deterioration either. In obvious contrast to vinyl, CDs do not suffer as much from the effects of repeat play.
Similar to records, audiophile CD players read the information straight from the disk and shy away from unnecessary storage or modulation of sound. They will expose the shortcomings of both the medium and the recording, important factors in providing a reassuring sense of realism and dimension. In contrast to vinyl, however, the CD itself does not contribute its own material resonances that would make it sound organic and therefore familiar to the human ear. Instead, CD data is likely to be affected by resonances emanating from the drive motor, the laser’s queuing mechanism, vibrations from the built-in transformer, and from other units in the rack. It can be said that all electronics and mechanics around the music information on a CD are larger, louder, and prepared to spoil the listening fun. And since the resulting effects are unfamiliar to the human ear, they can be deemed unpleasant. Still, the CDs biggest sonic advantages over modern streaming services are that it is both tangible and local. Its data stream does not depend on the integrity of various relay servers along the way to reaching our ears.
The first Rega Plant CD player came out in 1997, a time when the CD was at the height of its popularity, and four long years before the first mp3 players came to the market. Rega was already a familiar brand in the audiophile community. Founded in 1973, the British ‘Rega Research Ltd.’ had been known as a notable manufacturer of audiophile amplifiers, loudspeakers, and—most significantly—turntables long before they ever considered making a CD player. The famously affordable Planar 3 turntable had won Rega international recognition among vinyl enthusiasts and become a bedrock for analog playback. In addition to selling under their own brand name, Rega had also been asked to supply turntables, tonearms, and related parts to other brands, such as NAD and Rotel.
For a vinyl specialist to enter the CD player market, the company needed to come up with a convincing argument for its followers. The original Planet was marketed as offering true ‘vinyl-like’ sound made by a company that normally hated the sound of CD players. This created some curiosity, and the original Planet sold well, despite its quirky industrial look. It favoured musical flow over detail and achieved a soft top-end despite sounding a bit bland and crude, as some reviewers of the player have observed. Especially the lack of detail on the Rega's customised Burr Brown 16-bit DAC has sometimes been criticised as being outdated in more recent reviews.
The Planet 2000 brought about a major facelift to the original Planet. Instead of plastic, it is housed in a custom-built extruded aluminium case with a central top-loading lid. The 2000 uses similar circuit topology as the original Planet but features an improved DAC (Wolfson 24-bit, Sigma Delta IC40), power supply and coupling capacitors. Instead of a conventional iron core transformer, the 2000 version has a toroidal transformer with separate windings for the display and audio stages. Display and controls were also given a makeover, giving the Planet 2000 a better performance, look, and feel in comparison with its predecessor. However, while many things have been improved, the player does have some surprising quirks that make it difficult to compare the Rega design with more conventional front-loading players.
For one thing, the top-loading mechanism means that the Rega 2000 requires at least 20cm of rack space height for the lid to fully open. Due to some necessary adjustments made for the Rega, my rack only offers 17cm which makes changing CDs less than convenient. The drive itself sits in a plastic tray at the centre of the player’s aluminium case. Where it has not been painted, the plastic has become tobacco-coloured from UV radiation on one side. Both the front and rear panel are made of plastic. While the front panel has been painted in cabinet colour, the rear has been left unpainted and also shows discolouration. Although we hardly come in contact with the front or the back of the player during operation, the use of plastic on the front has proven to be somewhat disappointing.
The Planet’s CD drive holds the CD in a peculiar way. Similar to a turntable, there is a central prong surrounded by a cone-shaped centre that is sitting on a spring. The CD is placed on the cone and continues to wobble. Pushing the lid down then lowers a magnet onto the centre of the CD and pushes down the cone with the CD exactly centred, or at least this is the theory. In reality, CDs are sometimes slightly off axis, resulting in a wobble of the disk and the magnet on top. And since the top of the magnet is visible though the lid from the outside, one cannot help but wonder how long this will continue to go on well. While the Rega’s custom made Sony transport is surprisingly resilient in reading despite disk wobble, it is at times possible to hear the wobble in the music though strangely elongated, followed by compressed, passages. When the disk does skip, the jump is quite brutal and can misplace the laser by as much as half a song. To be fair, most CDs play with only a tiny amount of wobble, and of those that exhibit wobble, side effects will be minimal. But the player is far less forgiving than any CD player I have ever had. Playing a CD becomes as delicate a ritual as playing a vinyl record.
Due to the excessive weight of the magnet, the Planet 2000 is quite demanding in terms of proper placement in the rack. The drive is in the centre of the extruded aluminium case that channels vibrations along its curved sides down to the four rubber feet. In contrast to our other CD players, the Rega requires just the right amount of support to keep it still. My first attempt was to place it in our rack without the support a base, but this made the player sound harsh and agitated. I then brought in a base placed on Oehlbach spiked absorbers. The player sounded soft but exhibited serious timing issues that made me look for the quirks rather than listen to the music. I swapped the absorbers for Harder Oehlbach pucks which helped to improve timing but somehow resulted in a lack of bass. I finally placed the base directly on the rack and was surprised that this by far sounded the best.
I love the fact that the Planet 2000 allows us to connect a dedicated power cord. Sadly though, the central position of the socket makes it more challenging to avoid the touching of cables behind the rack, especially, since dedicated cords, such as Lapp Ölflex are quite stiff. Turning the player on and off is possible while preamp and power amplifier are turned on without any trace of popping. This excellent muting of the player during operational changes is definitely noteworthy and very practical. SPDIF, Toslink, and RCA/cinch sockets are available to allow for all kind of applications, however, the plugs are slightly recessed into the rear panel, which might render them inconvenient in combination with some types of plugs. They could also feel a little sturdier, perhaps. Although the display has its own source of energy from the toroidal transformer, the sonic effects of having the display switched on are still audible in a slightly compressed and hazy soundstage. The display-off function allows the display to be turned off during playback with a positive effect on the sound. And since one can hear the difference, with a system and ears so inclined, it makes sense to use the display-off feature. When this function is engaged, however, the display will only light up briefly to acknowledge remote commands. While this is quite convenient, the on-time is a little too short for me to read the title. The display itself is red and relatively dark when turned on. This makes it difficult to read over long distances.
For optimum performance, the Planet 2000 needs to be paired with an excellent interconnect. In my experience, simple copper cables will not be able to show its full potential and could be a reason for some private reviewers reporting a lack of detail. I have tested the player with different types of RCE/cinch-type interconnects, from solid core copper, via silver coated multi-stand copper, to solid core silver, and I can report that the ladder surpassed all other choices by far. Using the silver solid core HBS2, the 2000 is sufficiently forward sounding and creates a wide open sound stage with an broad and accurate phantom centre image. I have no complaints about the amount of detail. If a disc should wobble, this can be heard mostly through timing issues and alternating channel imbalances.
If the recording permits, the Planet 2000 offers a smooth flow of music with a refined top-end. It is not quite as lush as the Philips CD 104 (NOS mod.) player, nor does it bring the music forward with such ferocity. It does, however, offer sufficient bass if properly placed on the rack. The music it produces is tonality accurate on piano, voice, percussion. The overall impression is laid-back with a sufficient amount of entertainment to keep me interested during longer listening sessions.
The biggest downside to the Rega Planet 2000 appears to be the magnet that holds down the disc. Rega have physically decoupled the toroidal transformer from the main board and the CD transport. They have asked Sony to aid them in the development of a unique transport mechanism, and yet, a wobbly magnet brings a new uncertainty into the equation. Since the whole CD transport can be replaced in the form of a low-cost kit that is screwed under the loading mechanism, I will attempt to fix the issue with a new drive. But if the magnet itself is to blame for the wobble, this matter will need further attention. All said, attempting to fully restore the Planet 2000 is a worthwhile activity, as the player itself performs far better than the typical mid-priced CD player found on the market today. In keeping with the tradition of other British audio brands, this player offers a gutsy and unique design approach that merits further exploration and therefore fits well with our website motto.
A DAC is needed to convert digital signals coming from a CD player, a streamer, a laptop or a PC, and possibly many other sources, into an analog signal that can be processed by an analog preamplifier or similar device. As the digital signal is an approximation of an analog signal, there are some calculations involved. Finally, there is some foresight and sonic calibration necessary in the analog segment of the DAC to match the DAC’s output stage with the receiving device.
The magic comes into play, when we hook up our DAC to a high-quality CD player. Because in this setup both the bit depth and sampling rate of the medium are given facts. The question at hand being: Will the external DAC outperform the CD player’s internal DAC, and in which way? Granted, you probably have to be an audiophile nutter to enjoy this sort of challenge. But, boys will be boys, and that is arguably good as it is. Other people sit for hours to pull fish out of the water, only to throw them back in.
Author: Karsten Hein
Category: Gear & Review
Cambridge Audio have long since made a name for themselves, offering very decent sounding gear at entry level prices. Perfectly fine for beginner audiophiles, as long as we do not insist on impressive build quality. Having said this, the tiny ‘DacMagic 100’ is certainly in keeping with this tradition. Similarly equipped as its larger brother, the ‘DacMagic Plus’, the unit offers a single 8742 Wolfson chip that can easily be found in higher priced digital to analog converters made by Rega and similar brands. Its USB 1.0 port might sound a little outdated, but it will handle data at rates of up to 192 kHz. In addition to the USB port, it features two S/PDIF inputs and one Toslink optical input. Outputs are RCA/cinch only, an inadequacy for some users that it does not share with its larger and better equipped stablemate.
Ken Rockwell has written an extensive review of both Cambridge DACs and in his measurements concludes that especially the USB signal processing is of unquestionable quality. In my own listening tests I have found that the DacMagic 100 performs very well over the whole bandwidth without any instantly recognisable imbalances. The stage impression is both wide and deep with plenty of space between the instruments. Voices come across in a life-like fashion with perhaps a slight tendency of too much transparency. Although bass performance was lean and fast from the start, it did not have the fullness of some pricier components. Understandably in this price range, the product’s weakness lies in its power supply. Adding a more potent power supply than the cheap plastic switching device, however, really made the bass open up and has left nothing to wish for ever since.
The DacMagic 100 is a great entry level DAC for audiophiles on a budget who shy away from the initial purchase price. Adding in a power supply at a later stage is nearly a must, although this will at least double the price of the unit. For buyers who can live with this two step process, the DAC really offers quality. On the other hand, if you are willing to invest the whole sum right from the start, you might as well get a DAC that has a decent power supply to begin with.
Picture Description Seen from above, we can identify three separate sections, the internal power supply section (bottom third), the unit's operating and switching section located around the main processor (center), as well as the digital to analog processing section (top third). The top third can be divided into the digital section featuring three clocks and the Wolfson 8742 DAC chip (right) and the analog output section with one operating amp chip per channel and a set of capacitors (left).
Magnetic phono cartridges —or ‘pickups', as they are sometimes called— are the means by which the sonic information that is pressed into the record groove is translated into an electric current that can then be processed by the pre-amplifier, power-amplifier, and finally the loudspeakers. The technical accuracy and tonal balance of this tiny electromechanical device will easily make or break the sonic integrity of our stereo system when playing records. A fact that is perfectly in keeping with the well-known audio rule of ‘garbage in = garbage out’. In other words: whatever sonic information the stylus misses will not be heard by the listener, and whatever signature it adds of its own faulty making shall be the signature of the music we hear. It therefore makes great sense to choose our cartridge well.
For vinyl newbies, including myself until recently, it is difficult to understand why one should spend lots of money on an item that is so tiny. After all, spending our money on a phono cartridge is difficult to explain to our spouse and most of our friends alike. However, a few cartridges down the line, I am still perplexed by the ever increasing amount of musical information that can be wrenched from that seemingly outdated vinyl disk. Depending on the quality and mixture of components used on the cartridge (stylus, cantilever, engine or body) the difference between two cartridges will be enormous. I have therefore decided to discuss phono cartridges in their own separate section, simply to give them the attention that they deserve.
Author: Karsten Hein
Category: Gear & Review
Tag: Phono Cartridges
As some of you might remember from my review of our Technics SL1310 turntable, this had moved in with us equipped with its original Shure M75 cartridge and ED stylus (elliptical diamond) from the late 1970s. In order to assure that the worn cartridge would not destroy our records, I had first checked the stylus under a microscope and found it fit to perform. There were some initial electric issues on the left channel, which our trusted technician solved by pushing a faulty pin into the cartridge with his soldering iron. He had thereby re-established the connection, and the turntable did perform well, until recently, when the left channel failed once again. It was high time to make a change.
Upon inspecting the tonearm of the Technics, I was reminded that this table already featured the practical half-inch headshell mount. Therefore, if I was going to invest in a new cartridge, I could also easily exchange the headshell and wiring along with it. And, since the headshell held both the cartridge and connectors, its resonances and the quality of its wiring would have some influence on sound quality. I checked the web for possible cartridge and stylus combinations and shortlisted three rather affordable MM (moving magnet) models among the more audiophile specimen that were all designed for medium-compliance tonearms: the Ortofon 2M Silver, the Nagaoka MP-150 - which is actually an MI (moving iron) cartridge and thereby similar to an MM - and the Audio Technica VM 540 ML.
Among the tree cartridges, the Audio Technica had the most sophisticated stylus, and, since we were still very happy with our previous purchase of the Audio Technica VM 95 ML for our Sansui SR-525, I was curious to explore the differences between the two cartridges of the same manufacturer, that were both equipped with micro-linear styli, with the specifications of the 500 series being slightly superior to those of the 95. To confirm the result of my musings, I discussed my considerations with a gentleman at thakker.eu, who confirmed that the sophistication of its stylus placed the ML version ahead of the competition at the given price point. For the 500 series, the total choices of styli were as follows:
Except for the VM560 SLC, which was more than double the price of the VM540 ML (and at that time Audio Technica’s most expensive MM cartridge ever), the micro-linear version was considered to be the most versatile performer among the choices. Although the 500 series would still be deemed an entry-level cartridge by some, the stylus's micro-linear cut in combination with the nude mounting on a square shank made the ML very capable of extracting the tiniest nuances from the record groove. Similar to the 95, the 500 series cartridge used dual magnets that were arranged in the shape of a ‘V’ to resemble the shape of the cutter-head. The design was to assure maximum amplitude and improved channel separation. The cartridge had been laid out to work equally well on most low and medium mass tonearms. In its VM540 ML/H version, it came pre-mounted on Audio Technica’s HS-10 headshell, and I decided that this was the most practical solution for our SL1310.
When the cartridge arrived, I was pleasantly surprised by the easy way in which I could twist the headshell out of its socket in the packaging and decided that I would use this same box to securely store our old headshell. As I had already been warned by the vendor, the cartridge first needed to be aligned to fit the specific layout of the SL1310. I used my old alignment protractor, on which the inner groove position can be aligned with the device staying in place, and was pleasantly surprised that the VM540 ML’s fold-down stylus cover also served in setting the correct angle and overhang. It produced a straight line on the protractor which made it easier to perform the setting. I also noticed that the new VM540 ML/H was lighter than our original setup, which meant that I had to dial back the tonearm weight quite substantially. I set the overhang and adjusted the tracking force to the recommended 2.0 grams using our digital tracking force scale.
One thing that took me a little by surprise, was the fact that I had to disconnect the SL1310 from the wall socket in order to perform these settings, as I could not shift the tonearm sideways without activating the built-in autostart. The platter jumped into action each time the tonearm was brought near to it, and, although this was quite clearly a feature of the automatic drive, it took me a moment to appreciate that there was no way around physically pulling the plug. Perhaps this is just me, but for some reason pulling the plug seemed rather crude to me, and I could not shake the feeling that I had overlooked some detail, like an on/off-switch perhaps.
When I finally did sit down to listen, I could hardly believe the improvement I was hearing over the previously mounted Shure M75 ED. There was simply more of everything. Listening to Carmen Lundy’s album “Soul to Soul”, I first noticed the superior exactness of the micro-linear stylus. And even though I had already experienced this effect in transitioning to the ML cartridge on our Sansui SR-525 turntable, I was deeply impressed once again. I had become so familiar with the little inaccuracies of our vintage Shure cartridge that hearing the album without them brought a whole new sensation to the medium. The VM540 ML produced a very low noise floor, showed no sibilance at all, and was capable of providing a highly accurate impression of the original musical event. And while it presented lots of musical detail, it did so in great harmonic coherence with no aspect being accentuated. I found this to be enjoyable, engaging, and superbly balanced at the same time.
The Audio Technica made our Tannoy XT8F loudspeakers sound larger and more intense than I was previously used to. The soundstage was excellent, with Lundy’s voice positioned smack center stage and all instruments arranged spaciously around her. This effect was aided by the long-trailing decay of individual tones. Transients had always been a special strength of the ML styli. In Lundy’s “Sardegna”, the xylophone appeared to be almost three-dimensional with individual notes appearing as vividly as bubbles in a glass of champagne. Trumpets and higher piano notes reached deeply into the room, whereas percussions remained slightly recessed. Bass notes were present but not as pronounced as they had been on the Shure. This impression stayed the same, even after I changed to Ted Poor’s album “You Already Know” that has much stronger bass lines. Instead of being boomy or overly extended, bass remained nuanced and controlled at all times. Bass enthusiasts would probably do well to increase tracking force to 2.2 or 2.5 grams, but I usually prefer stellar transients over mighty bass roar.
The Helge Lien Trio’s “Guzu Guzu” was more densely arranged than the previous two albums and gave the VM540 ML cartridge opportunity to show that it could also stay accurate in more volatile and cluttered situations, in which a multitude of natural sounds from acoustic instruments overlap. To my great satisfaction it also played this album effortlessly and smoothely to the last groove, accurately tracing each nuance without loosing itself in the detail. When compared to the VM 95 ML of the same company, I found that the two are very similar, but that the VM540 ML plays vocals with a softer and more balanced top end. This could be due to its extended frequency range or superior channel separation, but it could just as well be attributed to the periphery used. Technics decs are said to be very well engineered turntables. At this point, I can only say for certain that the VM540 ML was much easier to align with the built-in stylus protector folded down. If you are thinking about upgrading a vintage turntable with low or medium mass tonearm, Audio Technica’s 500 series is certainly worth considering.
Sound impressions based on the following system: Technics SL1310 record player, Dynaco PAS4 preamplifier, Hafler XL 280 power amplifier, Tannoy XT8F loudspeakers.
Author: Karsten Hein
Category: Gear & Review
Tag: Phono Cartridges
Audio Technica’s VM95 E is an entry-level moving magnet cartridge that succeeded the widely known AT95 E in 2019. The new design includes improvements to the elliptical stylus, which is now thinner, as well as a higher output voltage. The new VM95 engine supports a whole range of compatible styluses, which should make upgrades a little cheaper and more convenient, compared with having to replace the whole cartridge. The available styluses range in 6 steps from simple conical design to complex 'shibata' (patented cut). While the lower-range styluses are bonded to the shaft using a type of solder, the higher-range ones are joined directly, i.e. ’nude’.
The VM95 E is equiped with the second possible entry-level stylus and already shows some marked improvements to the discontinued AT95 E, although it maintains some of the typical traits that are to be expected from an elliptical bonded design. Especially when coming from the more sophisticated styluses such as the micro-linear or the shibata, the AT95 E lacks some of the clarity and nuance that the higher up versions are capable of. On Katie Melua’s 2020 “Album No. 8”, for instance, the music appears to be more compressed. A general lack of sonic detail makes her voice seem less revealing and therefore not as intimate as we are used to from the micro-linear stylus.
While there is still sufficient space between the instruments, poorer recordings will more easily sound muffled and restrained. Voices are portrayed in a tonally balanced and full-bodied fashion, however, which is certainly a strength. I feel the VM95 E plays voices tonally more accurate than some of the higher versions, as there is no trace of nasal effects. On the down-side, the elliptical stylus can produce sibilant vocals, as is the case on my not-so-great pressing of Norah Jones’s “Come Away with Me” album, which is still fun on the ML stylus and only just bearable on the E version.
While bass performance is accurate and certainly fuller and more present than on the former AT95 E, bass nuance, extension, and detail is sometimes missing, especially in direct comparison with the higher-priced versions. And this is arguably the aspect that makes it the most difficult for the entry-level AT95 E: the stylus competition that is based on the same engine. When we started our explorations with the AT95 E two years earlier, I did not think I would mind the lack of detail for as long as the music was tonally balanced. Coming from the more recent and more capable ML version on our other system, however, now makes it less enjoyable to listen to AT95 E. Not because it puts up a poor performance, but simply because I have meanwhile come to enjoy the more sophisticated sound, which, sadly, is a well-known audiophile's dilemma: "Once you have heard it, there is no going back."
Character: a solid tracker with occasional sibilance, semi-revealing of musical detail, full-bodied, warm and leaning towards neutral, musically balanced
Unit 5, Millennium Way
Author: Karsten Hein
Category: Gear & Review
Tag: Phono Cartridges
The Audio-Technica Corporation is a Japanese manufacturer of phono cartridges, turntables, headphones and professional microphones. The company has its headquarters in Tokyo and launched its first products, the AT-1 and AT-3 MM phono cartridges, in 1962. Its most notable devices include a long list of headphones, a portable record player, and also some phone cartridges. Among the latter was to be found the entry level AT-95 E which became renowned for its outstanding quality-to-price ratio and was therefore predestined as an entry-drug to audiophile listening.
The now discontinued AT-95 E set itself apart from the competition by featuring a more sophisticated elliptical stylus while its price competitors were still equipped with simpler conical or spherical styluses. The elliptical shape of the stylus allowed for more detail to be picked up from the record and made for excellent treble performance. The midrange was sometimes perceived to run a little thin and nasal. Bass performance on the other hand was tight, full-bodied, but not overly heavy or particularly noteworthy. The AT-95 E’s in-house competition came from the more expensive AT100E, which outperformed the entry level cartridge in most aspects.
With their new AT VM95 cartridge, Audio Technica have given the AT95 a long needed overhaul. The full cartridge name is comprised of the company acronym ‘AT’, the body or engine type ‘VM95’ and the type of stylus attached. On the AT VM95 ML, the final two letters stand for ‘Micro-Linear’, which is one of five possible stylus choices for the new VM95 engine. The ‘ML’ version is a dual moving magnet stylus construction with nude needle attachment and a micro-linear cut. ‘Nude’ means that the needle is attached directly, instead of being soldered onto the shaft.
From our own listening experience it can be said that the VM95 is a no-frills entry to mid-level engine with sufficient dynamic potential and average channel separation. It appears that the sound has been optimised for modern listening preferences in that it is balanced, detailed and forward sounding with all stylus combinations.
Paired with the ML stylus, the VM95 manages to present lots of detail from the record that simply remains hidden from the simpler stylus versions. The sonic impression is that the frequency band is extended, revealing even the tiniest nuances in the music. With the ML stylus, cymbals sound more delicate and ring much longer than on the lower cartridge versions, and no two drum beats sound the same. There is more insight into the various playing styles of other instruments as well: piano keys sound a little softer, and there now is a marked difference of duration and force on each one.
Voices sound full and warm with no traceable bias to my ears. Female solo artists appear to have more air in their lungs and to carry notes longer and with greater accuracy than I have ever heard on any other medium, such as CD or streaming. Despite this amount of delicacy and detail in the presentation, we could detect hardly any mechanical noise coming from the record itself. Instead, the record remained ultra silent with only the music in the listener’s focus.
With the ML stylus it is easy to hear right through poor recordings. Although I have found both new and old recordings to play well, the ML stylus sounds best with more recent productions that also take into consideration the more revealing nature of today’s equipment. Listening to Bob Seger’s “Greatest Hits” album for instance, the ML stylus made the limitations of the original recording far more obvious than the elliptical ‘E’ stylus would have done. On Katie Melua’s newly released “Album No. 8” the voice comes across in a strange combination of purity and a silvery overtone that seems to stem from the studio microphone design. One needs to at least be aware that opting for the micro-linear or Shibata stylus versions for the VM95 engine will bring a great deal of detail to the music that may become a blessing or a nuisance depending on the quality of your gear and the quality of the recording.
The AT VM95 ML is also capable in terms of bass notes. While bass can certainly swell and become both loud and full, this is never coincidental and always with good measure. Instead of sloppy bass, the cartridge sheds as much light on bass notes as it does on the highs and the midrange. There is lots of bass contour and very little else to be desired for. The music easily manages to free itself from the loudspeakers and becomes a true performance. There is always sufficient flow with plenty of dynamics, although the AT VM95 ML to my ears could be slightly less academic and more engaging perhaps. However, due to its ability to present lots of musical detail, the ML version will bring even rather boring performances back to life.
Sound: Silent on the record, revealing and highly nuanced, warm and leaning towards neutral, controlled and well-contoured bass
Unit 5, Millennium Way
Sound impressions based on the following system: Lenco L75 record player, Restek V1 preamplifier, Hafler XL 280 power amplifier, Tannoy XZ8F loudspeakers.
A pre-amplifier can well be considered the heart of our system. Since many pre-amps will feature a built-in phono stage, for MM, MC, or both, there is some amplification involved, however, the term describes more its position before the amplifier than its calling. Pre-amps generally serve as a hub to rout music signals from multiple sources to a single power amplifier. All preamps add a sonic signature, and, because of their central position, this signature will make or break a good system.
It therefore makes sense to choose our preamp well, and there are some pointers to look out for: 1. Signal integrity may be corrupted when running though potentiometers, hence, audiophile units will rarely feature bass, treble, and other attenuators. 2. Power supplies may inject interference into the signal. Many units therefore place the power supply in a separate housing. 3. Thin conductor tracks on the circuit board may cost speed and dynamics. 4. 2D circuit board layouts may pick up interference. High End units will often have a greater degree of direct wiring.
Author: Karsten Hein
Category: Gear & Review
As the vacuum tube was phased out in home audio appliances during the late 1960s, for the sake of cheaper production and more versatile equipment, some music lovers believed that the industry was heading in the wrong direction. While transistors outperformed tubes in terms of size and heat dissipation, their musical performance was not yet great.
Among the transistor sceptics was a man called William Zane Johnson. Bill had been running his own specialty audio store in south Minneapolis, out of which had he designed sophisticated amplifiers for those who cared deeply about accuracy and musicality in sound reproduction since 1951.
In 1970, following a failed attempt of developing his existing store model, he decided to start a company that would do justice to his designs, patents, as well as to himself. He named it ‘Audio Research’, and from the beginning it was clear that this company would put its focus on vacuum tubes for music reproduction.
While Bill held fast in the belief that vacuum tubes could convey a more realistic, and therefore convincing, sonic picture, there was still some work to be done for tubes to match transistors in terms of agility and control. The challenge was to marry the accuracy in sound reproduction that is typical of the tube with the ability to present detail in music that is common with the transistor.
The successful marriage of these properties Bill Johnson named ‘High Definition’ audio, now a well-known trademark and mission statement that has been stamped on Audio Research products ever since. While his tube designs were at times perceived to be a disruption to the progress of the industry, Audio Research proved to be well ahead of the competition during the tube revival that followed in the 1980s.
The success of the Audio Research Corporation was also helped by the fact that it was declared the official benchmark of sound by some of the most influential audio magazines of the time, such as ‘The Absolute Sound’ and ‘Stereophile’. Audio Research is today the oldest existing manufacturer of high-end audio products and is considered to have given rise to the very notion of high-end audio. Their SP-3 High Definition preamplifier was said to be the best preamplifier on the market over a period of many years.
The unit discussed here, the Audio Research SP-6 High Definition preamplifier, was built from 1978 to 1982 in only slightly deviating versions (models A-E), with the exception of the SP-6F version which has been stated to be the SP-8 MK II with a different face plate. The unit shown here is the SP-6B of 1980 fitted with Russian 12AX7 Tung-Sol tubes. For a preamplifier, the cabinet is quite tall at 13.4cm, and at 10kg also quite heavy. Although general power consumption is at a relatively low 50 watts, the internal tubes do get quite hot, so that there should be 5 cm of ventilation space kept free above the unit.
The turning knobs are of excellent touch and feel with a stepped volume attenuator. The row of switches could perhaps be a bit more refined. The muting switch can especially give an occasional plop when turned on or off. All great preamplifiers play loud, and so does the SP-6. This can make it a little difficult to set subtle volume differences for night-time listening, especially when playing from a loud CD player, DAC, or streamer as source, and when powering high decibel speakers. Due to this, we have often ended up playing our music a little louder than we would otherwise have done.
Bringing the SP-6 to operating temperature after turning it on takes about four minutes. The unit is fully warmed up when the power LED stops flashing. However, its full sonic capacity is reached only after about thirty minutes. This is when the preamplifier begins to sound the most musical. And, no surprise, what we get when the SP-6 is fully warmed up is very pleasing, indeed. Compared to our DB Systems DB1, the Audio Research preamplifier sounds wonderfully voluptuous, but it does not do so at the expense of focus. Voices simply take up more space in the virtual center. Singers are accurately allowed their own realistic dimension. Where the DB 1 can make voices sound frail at times, the SP-6 makes them sound lush and solid. Accurate tonal color and realistic musical detail are present at all times.
Similar to our DB1, the SP-6 builds a realistic and three-dimensional sound stage. Both preamplifiers play accurately and provide a warm and pleasing signature to the system; however, the SP-6 provides more bass slam and dynamic drive than the DB1. On our main system consisting of a B&K ST140 amp and Martin Logan SL3 speakers, the SP-6 offers the most balanced, musical, and entertaining performance of any preamplifier we have had the pleasure of exploring here to date.
Note: In the end I was relieved to find that returning to our DB Systems preamplifier with satisfaction was still possible after this tour of exploration. While the two preamps accentuate different aspects of the music, they both provide an endearing and convincing performance at a very high level.
David Hadaway established DB Systems in Ridge, New Hampshire in 1975 and has been quietly manufacturing world class home audio equipment ever since. Similar to many manufacturers of audiophile gems, DB Systems has been flying under the radar of mainstream HiFi discourse and has gradually and meticulously developed its line of exceptional designs for a small group of followers. The DB-1 preamplifier was among DB Systems’s first products and was well ahead of the competition at the time of its debut. To this day, the company offers revisions and updates to all their products, and the DB-1 can well hold its own in the audiophile market.
DB’s line of audio products includes preamplifiers, power amplifiers, electronic crossovers, tone controls, phase inverters, and accessories. All products are designed and hand made in the U.S.A. using selected parts. The DB-1 comes with the DB-2 linear power supply and includes the DB-designed MM phono stage, the DB-5 precision tone control and the DB-4 MC head amp. When new, the complete preamplifier setup sells for 2,200 dollars. Used versions of the preamp can be found at very competitive prices.
The DB-1 shown here arrived in very a poor state despite being advertised as ‘in mint condition’. The phono stage was dead on both channels and suffering from multiple contact-related issues. The power supply was also dysfunctional due to a faulty DIY job and fitted additional capacitors that had come loose during transport. After a few weeks of care and attention, we were able to restore the unit’s original design and functionality. The time and effort was well worth it, as there are not many preamplifiers around that can measure up to the DB-1’s performance.
For a transistor preamplifier device, the DB-1 offers a surprisingly homogeneous and ‘analog’ sound. Its sound stage is both wide and deep, and separation of instruments is commendable. The phono stage is among the best in the market with an extremely low noise floor and superb RIA compensation. Paired with the right cartridge, it is detailed, dynamic, and extended.
Author: Karsten Hein
Category: Gear & Review
In audiophile circles, the name Dynaco is reminiscent of the famous budget assembly kits that would hold up against some of the most exquisit audio products on the HiFi market during the 1960s and 70s. Originally founded by David Hafler and Ed Laurent in Philadelphia in 1955, the company’s first products were the 50 and 60 watts mono amplifiers Dynaco Mark II and III and the preamplifier PAM-1. But it was not until the launch of the Dynaco ST-70, a 2x35 watts tube amplifier design in 1959 that the company made its entry to the audiophile mass market.
Dynaco went on to manufacture other tube and solid state amplifiers, preamplifiers, radio tuners, and bookshelf speakers. Their most powerful amplifier was the solid state Dynaco ST-400 which was launched in 1972 and offered 2x200 watts of continuous output power with sophisticated speaker protection. By this time, the formerly independent Dynaco had already become a subsidiary of Tyco, Inc. with David Hafler still active until 1974, when he finally left the company to join Ortofon in 1974 and then went on to start his own Hafler Company in 1977.
The original Dynaco was liquidated in 1980 and lay dormant until the Pan Orient Corporation acquired the trademark in 1993 and began marketing audio components under the Dynaco brand. Pan Orient soon shortened its name to ‘Panor’ and began launching updated versions of Dynaco classics as well as some new designs. Among these were the ST-70 successor ‘Stereo 70 II’ and the more powerful ‘Stereo 160’, a 2x70 watts all-tube power amplifier that was packed with audiophile features, such as switchable pentode/triode modes and adjustable tube bias.
When it comes to the Dynaco PAS-4, vintage audio fans will be quick to point out that this preamplifier design is a Dynaco in name only, because it was produced and sold by Panor during the early 90s. However, the Dynaco brand name was not chosen without reason, as Panor was serious about improving the original Dynaco/Hafler designs and was set on once again producing affordable audiophile gear for the average consumer with a medium-sized budget. Visible proof of this mission are the PAS-4’s no-frills industrial cabinet and design choices, as well as its selection of audiophile components.
The PAS-4 was developed under the direction of John Nunez, a former developer with the high-priced tube equipment specialist Moore Franklin Associates (MFA). John knew that, if he wanted to convince audiophile consumers of the PAS-4’s merits, he needed to get vinyl reproduction right. He therefore took good care to make the phono stage of the PAS-4 outstanding. Manufacturing quality was also intended to be excellent, with all units sold being designed and manufactured in the USA. Sadly, however, Panor had to make some concessions to meet the relatively low price point which hindered some of the PAS-4’s audiophile potential and frustrated some of the early customers.
Despite its outstanding design, the PAS-4 was sold fitted with the cheapest tubes available and came equipped with switches that were given to fail. It also offered additional circuits for improved usability that were not in keeping with the audiophile tradition of reducing the circuitry to the bare essentials. The first customer reviews of the new preamplifier reflected these shortcomings, and resulted in only a few thousand units of the PAS-4 being sold, thus making it a rare find on today’s vintage market.
The unit shown here is a completely different beast from the version sold by Panor. It is closer to the original audiophile design and includes most of the recommended updates and modifications that have been found beneficial over the nearly three decades of its existence. Of course, it helped that the original basis was excellent: 1/8” thick circuit boards, high quality tube sockets, excellent trace layout with star grounding, and each tube with its own voltage regulator. Changes and updates to our PAS-4 include changing to an improved hum-free 230V transformer, adding a high-quality rotary Elma switch for source selection, bypassing the tape monitor and tape dubbing circuitry, eliminating the channel balance attenuator, and bringing in an audiophile grade Noble volume attenuator.
The original tubes were replaced with Russian Tung-Sol 12AX7 SC803S and SOVTEK type 6922 for the 2-stage phono section, as well as a pair of Genalex 20 03 for the hybrid line stage. The capacitors were updated to Mundorf Supreme EVO Silver Gold Oil. The aim of the updates was to minimise internal and external noise and distortion and to increase transparency, responsiveness, and dynamics. Configured in this way, the PAS-4 becomes a worthy audiophile contender in true Dynaco tradition. And, while the original preamp cost around 1,000 dollars new, following these updates, it can easily compete with preamplifiers costing 2-3 times this amount. Hafler trusted in the craftsmanship of the DIY home builder, and, apparently, so did Panor. While it took some expertise to unravel the PAS-4’s genuine character and potential, the good news is that it was possible by simply building on the superb infrastructure that was already present.
Setting up the PAS-4 in our household for the first time, I noticed that tube gear is a little more difficult to set up than solitary state equipment. My preference was to fit the PAS-4 in our main system where it was to replace our DB1 preamplifier and to play with our B&K ST-140 amplifier into Martin Logan electrostatic speakers. In this position, however, the PAS-4 was lacking the upper frequency band in a way that most of the transients were lost and that the music sounded stale. It sounded as if the tubes had reached the end of their life expectancy, or as if there was some other major problem with this preamplifier. After 2 days of trying different cable combinations I gave up and took the PAS-4 to our other system.
In its new position, the PAS-4 was to replace our Restek V1 preamp and to play with our Hafler XL-280 amp into Tannoy XT8F speakers. Here it immediately showed that the Panor/Dynaco is a Hafler derivative. The PAS-4 pre and Hafler XL-280 amp turned out to be a match made in heaven. In retrospect, this is perhaps not surprising, given the PAS-4’s pedigree, but to me it came as a revelation at the time. I simply could not understand how the same preamplifier could perform so differently in combination with two amps that it sounded broken in the one position and absolutely brilliant in the other. For the first time, the Tannoys’s sonic character also matched their physical appearance. The XT8F are not exactly small speakers, but somehow the Restek V1 in combination with the Hafler had made them sound overly precise and academic, instead of musical and dynamic.
The PAS-4 is able to build a huge stage from left to right that extends far beyond the speakers. Instruments position themselves freely with plenty of dark spaces around them. I have found that treble highlights are fewer than in combination with the Restek V1 but more pronounced when they occur. Transients are fully present and sounds linger in realistic fashion. Similar to most tube equipment, the PAS-4 can introduce interference, which will result in humming or hissing when something is not right in the setup. In my first attempt to pair it with our Hafler amp, I had not noticed that its power cord was touching that of the Hafler amp. This resulted in audible hissing on both amp channels. In fact, noise was a complaint that I had also read in some owner reviews. When everything is set up properly, however, the PAS-4 is nearly as silent as the Restek V1. One would have to hold the ear directly to the tweeter section of the speakers to hear the remaining noise.
As is the case with most serious HiFi gear, the PAS-4 will reveal the difference between a standard power cord and one that has been designed specifically for use in audio applications. On our own system, we have paired the PAS-4 with a Lapp Ölflex 2,5mm fitted with ferrite clamp to good result, but I suspect that one could get even better performance from this preamp with a more sophisticated cord. The difference between the standard cord and the Lapp cable was so striking that I suspect that further improvements in this position will again have a major impact.
After switching on, the PAS-4 needs about 15 minutes for the tubes to warm up. Actually, it will already play music after 45 seconds, but sound stage and dynamics do need some time to develop. Transients only sound right after some 30-40 minutes of playing. At this time, the six tubes will have reached their full operating temperature—which is actually quite hot. The slim cabinet design means that the tubes are literally touching the top of the enclosure, and I have meanwhile read that many users are leaving the lid off completely to improve ventilation. My reasons for leaving the cover on despite this are the presence of children in the household and the belief that the enclosure functions as a Pharadeic cage to protect the inner circuits from outside interference.
The PAS-4 puts out lots of power, with normal listening volumes being present at around 9 o’clock on the volume dial. Since the same is true for our DB1 and V1 preamplifiers, I suspect that this is a general tendency with audiophile grade preamplifiers. In contrast to our solid state gear, the PAS-4 strikes a more soothing balance between treble and bass notes without sacrificing transparency. Voices sound fuller and richer, double bass and lower piano notes have a greater sense of dimension and authority to them. To my ears, the PAS-4 puts out a more satisfying and realistic bass performance without the aid of a subwoofer in our system. Our Tannoys surely benefit from this and are sounding even more engaging. It is therefore not surprising to me that the PAS-4 is awarded 4.8 out of 5 stars in audioreview. For us as well, this unpretentious looking preamp is a definite keeper. If you can get your hands on a specimen in good condition and find yourself in a position to have the basic modifications done: do it. Where it fits in, the PAS-4 is going to be very hard to beat at this price point.
David Hafler was an American Audio engineer who was best known for his work on improving the Williamson amplifier design through the use of ultra-linear circuitry. His background as a producer of linear power supplies for use in audio applications lead to the founding of Dynaco, and later, in 1972, to the founding of the David Hafler Company, a manufacturer of high quality audio products at affordable prices. Under the supervision of its founder, the company produced many famous preamps, among them the DH-101 and DH-110, as well as a line of MOSFET power amps, including the DH-120, DH-200, DH-220, DH-500, and XL-280.
The Hafler DH-110 was the company’s second preamplifier design. It replaced the DH-101 and was built from the early 1980s to the early 1990s. In typical Halfer fashion, the unit came in form of a DIY kit as well as in fully pre-assembled condition. The DH-110 has a sleek and unobtrusive design and is very well equipped. The features include a headphone amplifier, a muting circuit to prevent downstream thumps, a mono and tone control defeat switch, a rumble filter, as well as an external processing loop. The body is well constructed and protected from outer interference through full copper coating, similar to the Harman / Kardon designs of that time period. With two tape loops and two phono stages, the amplifier offers great connectivity.
While this is a great preamplifier for the price and can well keep up with mid-priced modern designs in terms of tonality, there is also some criticism. For example, the headphone stage is not very loud. Therefore, if your headphones need lots of clean power, this preamp might not be the right on for you. The volume attenuator steps are quite enormous, this especially becomes and issue when listening at night when the house is asleep and the steps at low volume leave you stranded between to quiet and too loud. Another issue is that only one of the two outputs is actually run though the volume attenuator, which does not make it a great companion when bi-amping your speakers or wanting to add a subwoofer – whoever would want to do such a thing. In combination with the Hafler DH-120 amplifier, the unit produces a decent and musical sound with lots of drive forward. It is not as delicate and refined as the Restek V1 or the DB Systems DB1 preamplifiers, but then these cost 3-5 times the amount of the Hafler, and many will wonder whether it is actually worth paying the extra.
Rotel today has a good name in providing no-frills HiFi components, featuring what has come to be termed ‘British sound’. In this context, I was surprised to learn that Rotel is a family-owned Japanese manufacturer of audio and video equipment established in 1961. Perhaps the image of Rotel as a British manufacturer has rubbed off from the company’s 40-year strategic alliance with Bowers & Wilkins, based in Worthing, UK. But perhaps it is also due to the rather English or at least germanophone sounding company name. In the company fact files, we can read that Rotel was formed by Tomoki Tachikawa, is currently run by the nephew, Peter Kao and has had a major influence on the direction of Bowers & Wilkins, by setting up the global sales network for the loudspeaker manufacturer.
Although Rotel is primarily known for its range of High End HiFi components, including amplifiers and preamplifiers, they have always maintained a line of affordable, entry-level gear that boasted the Rotel design features and carried some of the myth of the ‘British sound’ to a new generation of audio enthusiasts. The Rotel RC-960BX is such a case in point. Paired with one or two of the RB-960BX dual-mono amplifiers, the combination of pre and amp could easily beat many of the contemporary receivers at the same price point in terms of tonal balance and punch. The wise lack of controls and the ability to bypass those that remained, paired with the separation of channels and tasks, brought something solid to the table that many other devices were lacking. Coming from a mid-priced Denon Amplifier, the Rotel combo sure was a revelation.
Although the Rotel sound can be described as sophisticated, the entry level gear shown here maintains tonal balance at the cost of providing that highly engaging musicality we have come to love from Hafler, Restek, and DB-Systems preamplifiers. The build quality shows some obvious sacrifices to careful budgeting: a plastic floor plate that broke during transportation and has since been replaced by a more solid version, plastic absorber feet that were an integral part of the broken floor plate and have also been replaced, a cheap but quite common folded sheet metal casing without copper plating, a single circuit board construction with the humming transformer placed directly on it, a balance control that is part of the volume knob and generally feels a bit iffy when trying to get the balance right. While the performance is commendable at the given price range, piano sounds do not extend into the room as well as on the other devices, separation of instruments is present but not great. The stage feels more confined than on the other devices, although there is a great center image and the mids are nice and full, features that are at once endearing.
I found the Rotel to work well with soft dome tweeters and generally speakers that would blend over occasional blunders. The RC-960BX is not a bad choice, if you are getting started in High End and need to purchase lots of gear at the same time. It usually holds its price when purchased used. Just make sure the floor plate does not get broken during transportation, because that really is a hassle to fix.
The Restek Elektronik Hugo + Elschot oHG was founded in September 1975 by two electronics engineers. In its early years, the company manufactured not only HiFi equipment, but also electric vehicles and components for industrial applications. The first HiFi components were produced at the company’s headquarters in Fuldabrück from 1977. Although each unit sold was designed and hand assembled locally, Restek partnered with the HiFi equipment manufacturer Thorens in the distribution of their products. Although Restek is best known for their exceptional FM-3003 tuner, the V1 class A preamplifier was among the company’s very first products ever produced. The label ‘High End Audio made in Germany’ has kept the company in business until this day, and one of the company two founders, Mr. Adrianus Elschot, is still heading the company today.
Restek manufactured two preamplifiers by the name of V, namely the V1 that is shown here and the V2a which offered extended functions, such as remote switching, separate headphones level adjustment and connections for two tape loops instead of just one. The V1 is perhaps the purist’s choice and does offer some very promising features. A stepped volume attenuator assures maximum contact and channel balance at each volume level, separate output level attenuators at the back of the unit allow for optimum balance setting and adjustment to the amp. For the sake of signal integrity, all unnecessary switches and attenuators have been left out, such as tone level adjustments or loudness circuitry. The Restek V1 can handle both MM and MC phono cartridges and, next to phono, has cinch/RCA connections for a tuner, a non-specified device such as a DAC, and for a reel to reel deck.
The unit is able to play back frequencies from 2 to 200.000 Hz. Linearity measured between 20 and 20.000 Hz is at a stunning +/- 0 dB (THD 0,001%) and even for phono at a mere +/- 0.2 dB (THD 0,004%). In the days when it was first released to the public, the then young German ‘Audio’ magazine even compared this unit of a relative newcomer to the established products of Burmester and other High End manufacturers of the time. Often, the extent to which a company stands behind their products can be seen by the amount of support that one can expect to receive, say, 40 years after the initial date of purchase. In the case of Restek, service can very well be regarded as excellent. Here is why:
When in 2017 the unit shown here came to show first signs of ageing, we were pleased to learn that there was not only service available, but also a complete upgrade. This included: Replacement of the relays and all electrolytic capacitors, adjustment and replacement of components that were outside the specifications, circuitry modifications according to the latest standard, and the installation of new operational amplifiers. In other words, a complete reworking of the more than 40 years old unit, to prepare it for the new millenium.
A power amplifier takes the relatively weak electrical current coming from the pre-amp and uses it to operate a regulator that controls a high current coming from the power grid. The regulator can be in the form of a transistor or a tube, or in that of a digital switch. Both transistors and tubes radiate lots of heat during operation. Tubes mostly because of their internal heating, and transistors because of their relatively slow adjusting of a high energy source. Classic transistors are round and shiny looking, similar to tubes.
An amplifier needs a strong, low radiation transformer (often toroidal or encapsulated) that delivers both the operating and the amplification current, and lots of excess energy that is stored in the large capacitors (similar to ultrafast batteries) to provide music burst power that the power grid could not otherwise provide fast enough. It also needs one operating board and at least one transistor (or similar) per channel, usually mounted on large heat sinks for cooling.
From the combination of these parts results the amplifier’s power rating. This is usually provided in two numbers: watts & ohms. The watts is the ability to provide power into a load resistance that is rated in ohms. Theoretically, when you lower the load resistance on the side of the speaker, the ability to deliver watts on the side of the amplifier increases. There is a limit to this, however, because reduced load also means more back current to the amplifier which at some point either becomes unstable or overheats and dies, perhaps taking the speakers with it.
Author: Karsten Hein
Category: Gear & Review
Tag: Power Amplifiers
Ever since the revelatory experience of playing music on his Dynaco ST-70, my friend Luigi had been scanning the market for an all-tube pre and amp combination capable of delivering abundant power into even the most demanding speakers. This proved to be a difficult task, because large tube amplifiers had been well out of fashion for at least 30 years. Then, one night, he called me to say that he had made a purchase. The units he had found were an Audio Research SP6 preamplifier and a D-115 tube amplifier, both in need of a massive technical overhaul. He consequently dropped the units off at his trusted technician, and for the next few months that was the last we heard of them.
After what seemed like an eternity, I was invited to Luigi’s house for a listening session and immediately noticed the large silver face plates that are so typical for the Audio Research products of the 80s. I could not help but grin with apprehension. So, they had finally come back from the shop, fitted with new quality capacitors, boasting re-soldered connections and a brand new set of the finest matched tubes. All the dust of 40 years had been cleaned out, and lots of love and energy had been invested to make this set of tube separates one of the best of its kind on the audio market today.
As I would find out, this type of gear certainly merits the effort. Audio Research has an excellent name amongst tube enthusiasts. In fact, the company can look back on a long history of audio excellence and is today the oldest remaining manufacturer of high-end audio products. Audio Research is considered to have given rise to the very notion of High End audio, and their SP-3 High Definition preamplifier was said to be the best preamplifier on the market over a period of many years. A whole range of products manufactured by the Audio Research Corporation (ARC) were declared the official benchmark of music by some of the most influential audio magazines of the 1980s, among them ‘The Absolute Sound’ and ‘Stereophile’. Read the full history of the Audio Research Corporation in my review of the SP-6.
Instead of listening to the preamplifier and amplifier combination as a set, Luigi and I agreed that we should take a step-by-step approach in writing reviews. It would be far more interesting to learn how each component performed when playing against and among the units that we were familiar with. I therefore first took the ARC SP-6 preamplifier for testing in December 2020. Despite its advanced age, the large and heavy preamplifier gave a stellar performance, making our otherwise excellent DB Systems DB1 preamp sound a little thin and analytical in direct comparison. And—while I had no difficulty readjusting my ear to the familiar sound of our DB1 following the test—I still hold the SP-6 in very high esteem. It actually inspired me to purchase our first tube preamp a few month later.
Having returned the SP-6 preamp to Luigi, I was hesitant to take the complimentary ARC D-115 out for testing. I suspected that dealing with the amp would not be quite as easy. One reason for this suspicion was the amp’s weight. With its 3+1 large transformers and thick sandwich base plate, it weighs just above 30kg. And with the speaker terminals protruding out the back, I could not simply pick it up by the handles, either. The D-115 rather needed to be carried horizontally, like a serving tray, which all the more accentuated the fact that this was, indeed, a very heavy piece of equipment. When I finally did bring it home, I arrived at our house in the middle of the night and telephoned my wife to give me a hand in carrying the D-115 up our long flight of stairs. I remember feeling quite embarrassed about it, like someone who had bitten off more than he could chew.
But weight was not the only consideration. The second factor was its operating temperature. When switched on, the D-115 draws close to 400 watts of idle power from the grid. That’s a lot of juice for a machine that is not yet playing music, and most of this energy is simply transformed into heat. When placing the amp in our rack, I first had to make some adjustments to provide it with the ventilation it needs. This included taking out one shelf board and dismantling the front door. Just out of curiosity, I then placed one of our children’s bathing thermometers on the grill above the tubes. It soon reached 50 centigrade, which was also the end of this particular thermometer’s scale. A reminder that an all-tube power amplifier is a serious piece of gear that requires some thought and attention before first operation.
The D-115 likes to be positioned close to the floor where it is relatively cool and vibrations coming from the transformers can be channelled directly to the ground. The amp’s three rubber feet assure that it will not wobble when placed on a stable surface. Thorough mechanical decoupling from source devices is advisable for an amp of this caliber. I have sometimes read that tube amplifiers prefer to play into close to linear 8 Ohm loads or higher. On the other hand, there are some reports of the D-115 being paired with Magnepan and Martin Logan speakers with some success. For this reason, I thought it safe to begin my exploration on our SL3 electrostatic speakers via the amp’s 4 Ohm output terminals, before attempting to pair it with our 8 Ohms Tannoy system. The amp actually has separate binding posts for 16, 8, and 4 Ohm speaker loads—another indication that 4 Ohm connections are possible. Connecting to the correct terminal is important in order to protect the D-115 from undesirable levels back current.
Martin Logan SL3 (DB Systems DB1)
After about 30 minutes of the tubes heating up without music playing, I started my session with “Turn up the quiet” by Diana Krall. The album has been my personal benchmark for studio recordings for some time now. Playing the album’s familiar songs, I first noticed the D-115’s thick and fruity midrange that manifested itself around Diana Krall’s vocals. The singer’s voice carried more weight than I was used to from our B&K ST-140 class-A MOSFET amp. There was greater focus on the voice itself, with the instruments being slightly set back. The sound was darker and tonally rich, as one would expect from a live performance. Where the ST-140 had dug out even the tiniest nuances of the studio recording, the Audio Research D-115 painted a slightly more homogenous and live-sounding image.
After listening to Diana Krall for some time, I changed to “All the Little Lights” by Passenger. This used to be my favourite non-audiophile recording. As far as singer-songwriter albums go, “All the Little Lights” is a decent recording, and yet with each advancement of technology on my side, I was also beginning to hear the limitations of the studio. To my delight, the D-115’s more forgiving approach to music worked rather well with this album. The amp was revealing enough for the music to be entertaining, but it did not reach as deeply into the spaces as some of its solid state competitors will. I found listening to Passenger tonally charming and occasionally magical. The D-115 was neither technical nor overly analytical sounding. There was no trace of harshness, and the whole experience proved to be non-fatiguing.
Although the D-115 perhaps did not offer as much presence at the frequency extremes as some of its more recent cousins, it did present its music with lots of slam and rhythm. This impression was supported by the fact that it created a huge and spacious soundstage with full-bodied yet soothingly intimate vocals. And—although bass contour was slightly limited, perhaps due to its relatively low damping factor—its overall bass performance did feel natural. Tube amps are special in their ability to interact with the listening room in a way that solid state amplifiers simply cannot. The effect on voices is magical and thought to be unique to tubes. With its strong centre focus, the D-115 without fail found and caressed the singers voice at an instance. And the same magic happened when strings were playing.
The final album I listened to was “Foot Tappin’ Boogie” by Jörg Hegemann. This is still a relatively new addition to my benchmark series, and yet, I enjoy every minute of it. Since Jörg’s album is mostly instrumental, I was able to focus on the D-115’s depiction of instruments. In this context, I felt that the Audio Research slightly favoured the double-bass performance over that of the piano, specifically in combination with the SL3 loudspeakers. While the double-bass was presented fully and elaborately, especially the higher piano keys did not have the same piercing authority that I had come to enjoy from our B&K ST-140. As it turns out, the D-115 is quite sensitive to power cord issues. I was able to improve piano playback by moving the amp’s power cord away from all other cords in a way that they would neither touch nor cross. A re-play of the same song showed some improvement to piano notes, although an audible difference to the solid state amp remained.
Tannoy XT8F (Dynaco PAS-4)
Listening to the D-115 on our Tannoy system with Dynaco tube preamplifier produced a more insightful and perhaps more widely applicable result. Similar to the first scenario, the all-tube setup created a huge and mesmerising soundstage with the music being lush, agile and forward sounding. As I was sitting only two meters from the speakers, I could literally feel the D-115 throwing music at me with a vengeance. Walking around the ample space and listening in different positions, it became clear to me that this amp could fill large venues with ease, exhibiting its full dynamics in every corner, even at low volumes. While imaging may have been crisper with our solid state amps, the Audio Research excelled in giving each sound full body and life-like dimension, with excellent piano and double-bass on Diana Krall’s “No Moon at All”.
The D-115 sounded non-aggressive, exhibiting a slightly mitigated top-end. In marked difference to our solid state amps, piano notes remained non-piercing throughout. I noticed a slight sibilance on Diana Krall’s voice that might have stemmed from the simpler power cord I used and that I had not noticed on our other system with the higher quality cord. In comparison with our solid state amplifiers, the tube amp’s bass notes did not extend quite as low. Diana Krall, for example, often finishes her songs with a bass thump, and so does Jörg Hegemann in “Foot Tappin’ Boogie”. The effect is especially highlighted when playing music via our silver cables. Listening with the D-115, this final thump was audible but it was not quite as pronounced. From my early experience with Hafler, I remembered that the real merits of an amp can often be judged when listening to it play from another room with the doors left open and asking myself the question “What is playing: an amplifier or a band?” For the D-115, the answer to this question clearly leans towards the latter.
In summary, it can be said that the Audio Research D-115 is a highly musical tube amplifier for experienced audio enthusiasts who prefer to be tonally caressed rather than impressed with extended range. It prefers to drive conventional speakers with higher and more linear Ohm loads. As far as tube amps are concerned, the D-115 offers a balanced and smooth sound with a slight emphasis on vocals which it plays in a lush and full manner. Rather than impressive bass contour or treble extension, the D-115 offers a huge and spacious sound that is highly engaging and non-fatiguing to listen to. Later models of the same manufacturer are said to perform in a more extended, analytical, and less charming manner. For audiophiles who have the necessary skills and resources to set up and maintain an all-tube power amp of this caliber, the D-115 is certainly an excellent pic.
I thank Luigi for this new opportunity of exploration. It is through his passion and good ear that I have learned more about HiFi in just a few years than I otherwise could have done in a lifetime. The above is a factual account of the subjective listening events with the D-115 in our two systems around the time from 5. - 9. July 2021. As always in HiFi, alternative listening setups may lead to different results. Readers familiar with the D-115 or related all-tube designs, please feel free to leave a comment below.
B&K Components Ltd. was founded by John Beyer and Steve Keiser in Buffalo, NY, in 1981. The company evolved out of a single amplifier design that Steve Keiser had created attending electrical engineering school during his final year of college. Upon showing his amplifier to John Beyer, who was thinking about putting together a stereo system for his own use, John was so overwhelmed by the performance of the unit that he convinced Steve they should found a company together to market it. Initially, all units were built by hand and by the new owners themselves. From the time of the Chicago CES show, where the products were first shown to the greater public, John Beyer acted as sales and business director, and Steven Keiser performed all technical functions.
The first amplifier was to be called the ST-140 and was poised to become an instant success with audiophiles, due to its musicality and its relatively affordable purchasing price. The first version of the ST-140 was a 70 watts per channel into 8 ohms design using a standard iron core transformer. The model shown here is the updated version featuring a toroidal transformer and 105 watts per channel into eight ohms. Right from the beginning, the ST-140 followed a ‘less-is-more’ approach that makes it the ideal playing ground for music enthusiasts. While many things can go musically wrong with such a design, the right setup and combination of accessories will easily lead to a highly engaging because unfiltered musical experience.
Over the years, B&K have derived most of their income from Original Equipment Manufacturing (OEM) designing, engineering, and manufacturing products for other electronics companies and to be sold under their various brand names. The company has manufactured many amplifiers and other components that were sold under brand names such as Crestron, Harman / Kardon, Lexicon, and Onkyo Integra Research.
The ST-140 is a simple Dynaco inspired design that is able to perform into low ohm loads, an important criteria when driving ‘difficult’ speakers, such as electrostatic or magnetostatic designs. This is especially true for the revised 1989 version of the amp. It offers great musical balance and dynamics and in this sense can really ‘sing and breathe’ though a musical performance. When comparing a design like the ST-140 with more sophisticated amps, such as the higher powered Harman / Kardon Citation 22 (200 watts per channel into 8 ohms), the transparency and musicality of the smaller ST-140 is truly astounding.
Author: Karsten Hein
Category: Gear & Review
Tag: Power Amplifiers
Do you have a bucket list? I have sometimes heard and read of people who write up a personal list of experiences that they hope to have during their lifetime. I suppose, bucket lists include places to travel to and experiences to have, and—until a few days ago—I was not aware that I even had items to put on such a list. But, when I dropped by Luigi’s new apartment to listen to his current HiFi setup and he suggested that I give his B&K Sonata mono block amplifiers a try, I suddenly had a great sensation that an important item was being crossed off my list.
Ever since I first listened to an ST-140 stereo amplifier, I have been a fan of the B&K sound. Simple in their design, these relatively inexpensive amplifiers offer great musicality while being very articulate in their presentation. There is nothing careless or sloppy about their approach to music. And, if the 105 watts RMS per channel amplifier can drive even difficult speakers with ease, just imagine what the 200 watts RMS per channel M-200 mono block amplifiers can do. After all, there is something humbling in a dedicated 19.5 kg amplifier designed to power a single speaker.
Luckily, my car was not parked too far away that evening, so that carrying the equipment to it proved to be an easy enough task. Getting them up the stairs on my own later that night was another story, of course. While the amps have handles up front, the sharp cooling fins extend out the back, causing ugly marks on tables and racks. It is therefore much wiser to ignore the handles and grab the amps by the body to raise them straight up. To be honest, I actually prefer this amp design, as it supports passive cooling when the units are mounted in a rack. Since both HiFi and professional racks are usually open towards the back, having the fins in this position facilitates convection cooling.
In our living room setup, the two B&K M-200 mono blocks were to replace the ST-140 stereo amplifier by the same manufacturer and to drive our Martin Logan SL3 electrostatic speakers. This is not an easy mission at all, because of the Martin Logan’s hybrid design, featuring a conventional woofer that is matched with a Mylar foil electrostatic panel. The difficulty is the low impedance of the panel—of below 2 ohms at 20,000 Hz—but also handling woofer reactance with the panel in the signal path. The SL3s therefore need a powerful amp that will perform into low ohms and offers enough damping to steady the woofer. 105 watts are barely enough for this task, although the ST-140 does have massive reserves and with its huge caps and power supply is relatively unimpressed with the Martin Logan’s impedance curve.
As usual, I gave the ST-140 a good listen first, playing Jazz, Folk, and Gospel that I know well. The Martin Logans sounded large, relatively slow, and relaxed. As a two way system, with a low crossover frequency towards the bass, the sound is generally homogenous and smooth. The ST-140 in combination with the SL3’s closed cabinet woofer produces a full bottom end but does lack some punch in the representation of kick drums. The highs are pleasant but not too crisp. This may have to do with the felt pads that we use as spike coasters to reign in the sound for a more musical and less technical performance.
Changing over to the M-200, I first noticed improved stereo imaging. The sound was still large, but now it was more articulate and slightly more spacious. Not in the sense of wider, but here was simply more room around the instruments. The SL3s now appeared more naturally agile and more forward directed. When listening to Springsteen’s ‘London Calling’ concert, for instance, ‘Youngstown’ had that same immediacy to it that I remember so well from the live concert. Since I already know this DVD well, the ability to evoke such memories at the blink of an eye really says a lot about the quality of the amplifiers. With the M-200 mono blocks, the music found it easier to loosen itself from the speakers.
Bass performance was less boomy and more refined with slightly more punch on the kick drums. While this was still not the SL3’s strong point, I now understand that larger amps will help in blending the bass in with the panel frequencies. And there is another difference that I noticed while watching TV later that night. Namely, that cinematic effects sometimes seemed to be unnecessarily emphatic, as if the engineers had mastered the sound track for equipment that was less revealing.
I hope I will be afforded the luxury of being able to listen to these amps for a few days, before returning them to their rightful owner. Well done, B&K. The Sonatas are accurate and musical amps that manage difficult speakers with ease and have enough power to convince even the otherwise relaxed Martin Logans to step it up a notch.
Number of channels: 1
Power output (8 ohms): 200 watts RMS
Power output (4 ohms): 400 watts RMS
Total harmonic distortion: 0.09 %
Signal to noise ratio: 95 dB
Damping factor (50Hz): 600
Frequency response: 1 Hz - 100,000 Hz
Slew rate: 25 V / uSec
Power consumption: 800 watts max / 65 watts (idle)
Dimensions: (w)43.18 cm, (h)14.68 cm, (d)38.70 cm
Weight: 19.5 kg
(1987 - 1990)
The Citation twelve deluxe power amplifier was released to the public in 1972 and based on the 1970 Citation twelve stereophonic amplifier that had many of the same features. The facelift to the Deluxe version included a wooden case with brushed aluminum front and slightly improved specifications in terms of frequency response and distortion. Harman / Kardon’s previous amplifiers had been tube designs, and the original Citation twelve was the company’s first transistorized power amplifier. The Citation twelve’s relatively modern design was based on a design suggestion published in the RCA Solid State Handbook.
The Citation twelve deluxe features many of Harman / Kardon’s trademark design choices. On the one hand, it was one of the first truly dual-mono design amplifiers, featuring two transformers, two power supplies, as well as two separate amplifier circuits. On the other hand, Harman’s belief in the interdependencies of sound waves gave this amplifier the freedom to deliver frequencies from 1 - 100.000 Hz at +/-1 dB. In fact, not many amplifiers are given free reign to produce frequencies outside the spectrum of human hearing. According to ‘Absolute Sound’ the Harman / Kardon Citation twelve deluxe is “One of the twelve most significant amps of all time.”
Industrial grade components made sure that the amplifier would last for a long time. Harman / Kardon was so sure of this that there is very little on board to protect the amplifier from harm. There are not buttons, switches, or attenuators on the Citation that could have a negative effect on sound. In the original design there is not even a power switch to turn the amplifier off, and the standby power of 30 watts assures that the unit is always preheated and ready to play. The Citation presents its music in a straight forward, not frills fashion. It does not sound quite as robust and aggressive as a Quad 405, but it does not paint in beautiful colours like the small Hafler DH-120 either. From all the amps I have heard, I feel the Citation sounds the most accurate. Playing in combination with the Restek V1 preamplifier, the Citation manages to shine its light deeply into the room, sets an excellent soundstage and has that ever so slight touch of inviting warmth that is sometimes missing in more modern designs. The imaging and timing are smack on, and the panorama extends widely beyond the speakers. Still an absolute highlight after all these years.
On the unit shown here, changes to the original design include: a new Lapp power cord to replace the simple US version, a high quality power switch, new capacitors and gold plated cinch/RCA sockets.
The David Halfer Co. was founded in Pennsauken, New Jersey, in 1972, but at the time of its founding, David Hafler had already made history as one of the world's most iconic audio engineers. Born in 1919, Hafler was a graduate in mathematics from the University of Pennsylvania who served for some time as a communications specialist in the Coast Guard during World War II. In 1950, he and his friend Herbert Keroes founded Acrosound, a specialist manufacturer of audio grade linear transformers for tube amplifiers. From building transformers it was just a small step to building the tube amplifiers around them, and in 1954, David Hafler left Acrosound and partnered with an audio engineer named Ed Laurent to found the Dyna Company, a name that was later re-branded as Dynaco.
Throughout his career, David Hafler focused on engineering audiophile products at affordable prices. Acrosound had built transformers primarily for home electronics hobbyists, and Dynaco was to take the idea of DIY audio to a whole new level. Ed Laurent had designed a new type single-tube driver circuit for a power amplifier before joining Dynco, and Hafler was intent on marketing this as an affordable choice for a large number of enthusiasts. Because of the high quality of Dynaco’s tube audio designs, the name quickly became synonymous with great sound at affordable prices. During the 1950s and 60s, setting up an audio system was still considered mostly an engineering hobby with the best sounding gear being built by its owners. Dynaco’s first product was the Mk. II, a 50 watts tube power amplifier. The unit was available both as a DIY kit and as a pre-assembled unit. After 2 years of successful sales, the Mk. II was succeeded by the Mk. III which was slightly stronger and offered 60 watts of power. These ‘Dynakit’ amplifiers were assembled by hundreds of thousands of audio enthusiasts at their homes. During the 1990s, the famous Dynaco Mk. II was featured in the Smithsonian's Museum of American History in Washington as a groundbreaking piece of American communications history.
Several Dynaco products of this time are still regarded as among the best audio designs ever made. This certainly includes the Dynaco ST-70, a 35 watts per channel stereo tube amplifier with a highly efficient push-pull output circuit. In fact, the ST-70 was designed so well that it was to become the prototype for many similar products that followed from other manufacturers. More than 350,000 ST-70 amplifiers had been sold by the time production finally ceased, making the ST-70 the most popular tube power amplifier in history. Although Hafler sold Dynaco to Tyco in 1968, he remained in an advisory position until 1971. By the time that David Hafler founded the company bearing his own name in 1972, he had already exercised an enormous influence on several generations of audiophiles and music lovers. With his mission of manufacturing high quality audio products at affordable prices being unchanged, the Hafler Company's first two designs were the affordable DH-101 preamplifier, followed by the DH-200 companion power amplifier, both offering exceptional music reproduction in that price range. Another notable product was the DH-500 stereo amplifier which was rated at 255 watts per channel and found great success in home, studio, and live environments. All units were available as DIY kits and as fully assembled products.
The Hafler DH 120 is a bridgeable 60 watts per channel transistor amplifier. It is of sturdy build quality with two amplifier boards hooked up to a single transformer. The 4 Hitachi MOSFET transistors per channel are mounted on two large heat sinks that constitute the sides of the amplifier. The specifications of the amp still read excellent by today’s standards, and the high quality of components assures a long life expectancy. Due to the relatively small number of parts and the well thought out circuit design, the DH 120 is a dynamic and musical piece of equipment showing that sought after Dynaco signature. In direct listening comparison, I even preferred the smoother and more colourful sound of the DH 120 to Hafler’s larger DH 220, a 110 watts per channel amplifier. Size is not everything, certainly not when it comes to the DH 120. The amplifier has got charme and is able to power most types of speakers just fine. For electrostatic and magnetostatic setups, the amplifier’s 60 watts per channel rating is most likely not enough.
Author: Karsten Hein
Category: Gear & Review
Tag: Power Amplifiers
There was a time when my good friend Luigi was bringing HiFi gear by our house for testing on a regular basis. And although there were lots of interesting discoveries to be made, somehow the devices did not strike a chord with us to the extent that we actually wanted to own them. One day, as I was climbing up the staircase from an evening teaching classes, I could hear music playing in the living room that sounded very realistic, even from a distance. Whatever this is, I was thinking to myself taking the last few steps, this is going stay. The system Luigi had set up for us was a Hafler combo consisting of the DH-110 preamplifier and the 60 watts DH-120 power amplifier. And its musicality was beyond anything we had heard at the time. When I later asked my wife at which point she knew that this would stay, she said that she had already heard it was very special from the kitchen - which is about thirty feet down the hall.
There are not many amplifiers capable of winning over our hearts from 30 feet away with such unanimous vote and certainly not at a price tag that most people are able to afford. Because of the obvious qualities of the Halfer, Luigi decided to purchase the 115 watts DH-220 and had it readjusted and fitted with new caps. The class-A portion of the amplifier was increased in the process, which has a positive impact on sound and leads to greater heat dispersion. I think you can literally fry an egg on this unit. At twelve kilos, the little amp feels like a solid piece of metal. The heat sinks are massive, and with this much class A-power that is probably good as it is. For an amplifier of this caliber, distortion figures are very low at any frequency. The below specs show THD at 1 kHz.
From my own experience I know that the DH-220 can be quite a princess, in the sense that it does not play with everybody. Some time ago we had borrowed it from Luigi to test it on our smaller system. In this scenario it had to play with some mediocre preamp and mid-fi speakers. The result was less than pleasing, and we soon returned the amp to look for something more appropriate. I was therefore surprised when Luigi insisted that I give this amp a second chance, now that all our other components had gradually been upgraded. In the current scenario the DH-220 was to replace the Citation Twelve Deluxe, a power amp that we have come to enjoy. And the playing partners were a Lenco L75 turntable, the Restek V1 pre, and Tannoy DC6t speakers at 8 ohms.
We gave the Citation a final listen and then hooked up the DH-220 for comparison. The improvement in this scenario was immediately audible even though the amp was still warming up. The slight dreaminess of the Citation was gone, music now had a more intense and realistic dimension to it which became especially striking when playing live recordings. Whereas the Citation had caressed the listener, the Hafler had a straightness and insistence to it that was familiar to me from some Quad amplifiers. The DH-220’s midrange is tonally very accurate and at that pleasingly broad. Its bass lines are powerful and controlled which develops into a pleasing fullness of sound. Spatial representation is highly accurate and piano notes are flung deep into the room. The Halfer played so well that we were able to remove the weights that I had placed on top of each speaker for better imaging and could pull the speakers further into the room without losing foundation. We will certainly keep this amp around for a while to enjoy the new dimension in sound. The Hafler DH-220 is well worth exploring. Wherever this amplifier fits in, it is going to be very hard to beat.
Author: Karsten Hein
Category: Gear & Review
Tag: Power Amplifiers
The XL-280 stereo power amplifier is arguably one of the best devices the Hafler has ever made. Offering 145 watts RMS into 8 ohms, it runs stable down to just 1 ohm and is thereby capable of driving even the most challenging speaker loads without having to fear instability, overheating, or the amplifier going into circuit protect mode and shutting itself down. The XL-280 was therefore predestined as a work horse to power the magneplanar and electrostatic speakers of the 90s, but also served more demanding conventional designs, such as some Infinity models. 145 RMS may not seem like a lot of power at first glance, however, this perception might change, if we consider that the watts nearly double as the ohms are cut in half, if the architecture and power supply permit. Thus, at 2 Ohms the XL-280 delivers 360 watts per channel, whereas many more conventional amps will simply throw in the towel.
The XL stands for Excelinear, which—according to Hafler—means that it excels in linearity. The aim was to build an amplifier that would have the linear properties of a single straight wire. The benefit of such an amplifier would be that it neither adds or takes away from the signal it receives from the audio source. Hafler writes that “In phase, amplitude, transfer characteristic and other distortions, the XL-280 sets new standards for accuracy. It is so close to perfection that for the first time you can make a meaningful comparison of this amplifier with the classic zero distortion: a straight wire. (...) An Exclinear amplifier enables the ‘golden ear’ who demands the absolute in system linearity to move one step closer to perfection.” The operating manual goes on to describe that with the addition of the XL-10 switch box, A/B comparisons in distortion differences to a straight wire are possible, and that the XL-280 offers built in controls for load adjustment to accommodate specific speaker loads. To allow for this adjustment while the amp is closed, the top panel has two small holes that are sealed by rubber plugs through which a screwdriver can be inserted.
Halfer, like Harman Kardon, believed that musical bandwidth should not be restricted for the sake of music integrity. The XL-280’s exceptionally wide bandwidth is demonstrated by the specified 1 watt output performance of ± 3dB from 0.1Hz to 500kHz. Impressively, phase shift within the conventional audio band (20Hz to 20kHz) is specified at less than 0.5°. In terms of build quality, the XL-280 is very similar to its predecessor, the DH-220, although it is actually 25mm wider. The black case consists of four construction units: 2 pressed steel sections which form the chassis and lid and 2 large anodized heat sinks—one on each side—to which the amplifier modules are attached and the 6 output transistors are screwed for passive cooling.
In their review of the Hafler XL-280, stereo-amplifier.net writes: “Set up for Quad ESL-63 loudspeakers the Hafler XL-280 gave a truly exemplary performance. The bass was absolutely firm and seemingly more extended than I am used to hearing, despite the fact that my preamplifier has a built-in LF roll-off. The treble was crystal clear and wide open sounding, with no trace of sibilant 'splash' and the overall stereo sound stage rock-solid regardless of the dynamic activity of the music used. Some of the more subtle subjective differences one hears in top-end hi-fi equipment are terribly difficult to quantify, sometimes even to express, but my overriding impression of the Haller XL-280 is that it neither adds to nor subtracts from the source material fed to it. The word that kept coming to mind as I listened over a period of weeks was 'authority' and I can't think of a power amplifier that I've used, or for that matter heard, which demonstrates that quality more convincingly.”
In my own listening so far, I can well relate to the relative authority which the amp attributes to the music. There is no halo, no trace of uncertainty in the representation of voices or piano notes. The amp rather seems to have an ultra-tight grip on the music that is truly fascinating. I cannot yet confirm the bass extension that we have come to know and enjoy from the DH-220, however, a fact that could mean that the capacitors in our unit have dried up over the years. While this would not be surprising for a unit that has been playing music since the 80s, it does mean that there is still some work ahead of us to reveal the XL-280’s full potential. Considering its fresh-from-the-shop condition, I would assume that this particular Hafler has been stowed away in the basement or attic for a long period of time, which is generally bad news for capacitors. Since we have already fallen in love with this amp, restoring it to mint condition will be well worth it.
Receivers are those strange and hybrid creatures that combine the properties and functions of a tuner, a preamplifier, and a power amplifier in a single cabinet, an attempt that has often produced major compromises in all categories with a devastating effect on sound quality. While receivers generally offer great ‘bang for the buck’ performance and convenience, the ‘bang’ aspect has never really been defined as a musical virtue.
While separate units allow for greater freedom for both the engineer and the owner, a compact receiver unit is not without merits. For one thing, the designer theoretically has ultimate control over all internal connections. This is a benefit to the designer of separate units who cannot be sure what the other components of the chain will be. Well-designed receivers will therefore not be much cheaper than their separate cousins, but they will not look nearly as impressive. Perhaps this explains why there are not all too many notable receivers around.
Author: Karsten Hein
Category: Gear & Review
The story has it that Sidney Harman and Bernard Kardon were co-workers in the higher levels of David Bogen & Co., a telegraph and communications specialist, before they both resigned to form Harman / Kardon in Stamford, Connecticut, in 1953. From the very start, the company focused on designing integrated receivers that would merit the definition ‘high fidelity’. The first Harman / Kardon high fidelity receiver, the Festival D1000, was among the world’s first AM/FM compact receivers and already featured what would later become HK trademarks, such as a copper plated chassis. Although Bernard Kardon soon after retired, in 1953, he sold his interests in the company to Sidney Harman, who consequently named his company Harman International. Perhaps out of respect for his retired colleague, but perhaps also because he did not want to again change a brand name that customers had just gotten used to, the company has continued to carry the double name Harman / Kardon on all their receivers, tuners, and amplifiers to this day.
The company’s strategy of building the highest quality product at any price level sometimes meant the omission of nice-to-have features for the sake of clarity and for the sake of being able to afford higher grade components, which may have alienated some customers in the shops. On the other hand, it has been this focus on the essential that has helped the company build a strong base of followers to keep it alive over the years where many others have failed. The iconic HK 330 receiver was introduced to the public in 1968. It is an excellent example of the Harman design philosophy and was very well received. The HK 730 shown here was the most powerful model of that product range and was built from 1975 - 1978. Its solid 40 watts per channel into 8 ohms may seem relatively unimpressive by today’s standards, however, one needs to consider that this unit was built before the receiver wars, in other words, before high watts figures were considered to be an asset. Instead, the unit was engineered for sonic performance, and the components were chosen to perform musically and effortlessly at common listening volumes. On the basis of the components used, higher output ratings would easily have been possible, if this had been the intention.
Harman / Kardon believed that limiting frequency response outside of human hearing would negatively influence the harmonics found in frequencies within the scope of human hearing. Hence the HK 730 attempts a linear performance from 4 Hz to 40.000 Hz. As is the case with all of Harman’s twin powered receivers, the unit features a double-mono amplification unit, each side with its independent power supply, as well as a third power supply for the preamplifier. Both the preamplifier and the power amplifier can be used separately, by removing the bridge at the back of the unit. All frontal elements are made of solid metal and have been placed on high quality switches and attenuators. Given Harman’s attention to detail, it is a little surprising that the treble and bass controls cannot be cut from the signal path. A small blunder that is easily forgiven once you hear the unit sing. The tuner and phono stage are truly excellent. The copper plated body helps to keep away interference, and the components are well chosen and well placed.
The unit shown here needed some resoldering. Especially the cinch/RCA connectors on the back can come loose with time. The original US power cord has been replaced with a high quality Lapp cable, and the clamps for the two sets of speakers have been replaced with banana jacks for convenience and to be able to attach larger diameters of speaker wire. The sonic performance is life-like and natural with plenty of control over the speakers. Its quality, features, and performance make the HK 730 one of the best classic receivers ever built.
It is probably fair to say that there has been a fascination with loudspeakers right from the very start. Not so much with the technology behind them, but simply due to the fact that they can reproduce sounds of familiar things without being the thing themselves. For example, a loudspeaker may reproduce the sound of breaking glass, without being made of glass or shattering in the process. It may reproduce the clanging of hard metal, without being made of metal or clanging against anything itself. And, most importantly, it can mimic the sound of voices and instruments, a discipline in which human ears are especially sensitive and therefore critical. Even on people with emerging hearing disabilities, the voice level frequencies are usually among the last to go.
While attempting to sound natural and accurate in their reproduction of music, most types of loudspeaker are first and foremost entertainment devices, and as such, they need to be able to survive on the entertainment market. As our understanding of this market and our behaviour as consumers changes, so do the design choices made by the manufacturers. Loudspeakers today look rather different from those made in the seventies. While modern designs tend to be tall, slender and cool looking, their older cousins were often wider and stubbier with warm looking wood finishes. However, these are just the visible features and would be alright, if it was not for another trend, namely that of the infamous target group analysis.
Let’s face it. Well-engineered speakers, and the electronics needed around them, are by no means cheap. Manufacturers are therefore facing a rather mature customer group that has the space, time, and available income to purchase up-market loudspeakers. If income tends to improve with age, sadly our hearing often does not. It could well be argued that the two curves are diametrically opposed. Hearing loss affects both our ability to discern high notes, as well as our sensitivity to low volumes. Consequently, in A/B comparisons, the speaker with the loudest high notes will, more often than not, get to enjoy the ride home. Sadly, this type of speaker will have a life-long imbalance when it comes to natural representation, an obvious weakness that all future owners will have to come to terms with.
Many things can and will go wrong at the point of sale. The speaker that sounded great in the shop, might not sound so great when placed into our own living space and hooked up to our system. The room, the furniture in it, and the electric synergy with our existing components will all affect the impression of sound. If possible, loudspeakers should therefore be tested and compared at home. Some dealers will be supportive and make such testing possible, however, there is a natural limit to this, and we might feel pressured to make a choice. The other option is buying loudspeakers used. Provided that the speakers are not broken on purchase, they will either sound great or can be sold again, usually for a similar or even higher price.
Author: Karsten Hein
Category: Gear & Review
Music is a multi-dimensional event, and its re-creation through loudspeakers is understood to be an approximation at best. The most obvious dimension is ‘volume’, and the vast majority of listeners will be able to point out the difference in impression created by sounds played at low or high volume. The juxtaposition of silent and loud opens a space in which a listener’s associations range from soft and friendly to powerful and threatening. Human hearing is usually most comfortable when listening to music at volume levels ranging from 50dB to 80dB.
The second dimension is ‘frequency’. Most people will be able to tell the difference between a lower and a higher frequency sound. This is especially true, if the sound created is between 500Hz and 3,000Hz, where our our hearing is most sensitive. The space that is made available via the frequency spectrum offers a vast playing field to musicians and their instruments, ranging from ultra-low bass to the highest notes of the piccolo flute. Lots of engineering has been done in extending the linear frequency range of loudspeakers in an effort to capture the aspects of natural instruments and beyond.
A third dimension is timing. It describes the ability of a music source to emit its sound waves in a synchronous manner in order to capture the speed and rhythm of an original event. Accurate timing will be supported or hindered by the placement of the music source in the room. The overlapping of music frequencies bouncing back from walls and ceiling can usually best be eliminated by the listener's brain when there is sufficient time-lag between direct and reflecting waves. Loudspeaker manufacturers have developed different solutions to address the issue of timing. Tannoy and KEF, for example, have adopted coaxial designs, whereas others have pursued single driver concepts, such as electrostatic and magnetostatic diaphragms.
And, listening to the Pata Acustica, I was reminded of a fourth dimension, one that is often forgotten in comparisons between loudspeakers, especially in a country like Germany where my fellow listeners habitually rely on facts and figures and are often deeply sceptical when it comes to trusting their emotions: I am referring to tone and timbre. That is to say, the ability of a loudspeaker to stay true to the tonal colour of the physical material of an instrument. This quality is especially important when listening to Classical Music, Jazz, Folk, etc., in which the simultaneous presence of many instruments requires a space in which each can be recognised by its own individual character.
To musicians, instruments are often as recognisable as the voices of friends and lovers. They will discern and often prefer one manufacturer over another, solely on the basis of how the instrument makes them feel when playing and listening to it. Loudspeakers that are able to maintain some of this difference in character are thereby capable of opening a huge (and additional) space in which a multitude of instruments and voices can be separated by their specific tonal character. And, most likely, it was this tonal correctness that set the Pata Acustica apart from many other loudspeakers in its class and aroused the interest of the people at Auditorium 23 in promoting it to their audiophile disciples.
During the 90s, Auditorium 23 was approximately ten years into business. Its founders believed in the sonic integrity of single-ended tube amps and simple Class A designs that would feed their sweet and soft signals into horns for amplification. The Pata Acustica was obviously not a horn and as such an exception in their lineup of exquisit loudspeakers. Retailing at just under 4,000 DM, it was considerably cheaper than folded horn designs, and it was also smaller than most of the other speakers. Manufactured by ATD in Italy and rated 91dB at 1 watt, the Pata Acustica played both loud and tonally correct on smaller tube amps. And this made it a real gem in the Auditorium's special circle of listeners.
When it first came into our house for auditioning, I knew close to nothing about the Pata Acustica. As usual, I prefer to conduct my listening assessment before digging deeply into the subject, simply because I do not want to bias my exploration towards a certain result. All I had heard from Luigi was that it performed well on tube amps. If I had any bias, it was that I feared the smallish speakers would sound hopelessly lost in our spacious listening rooms. I dug out our two stands that we had constructed for the KEF iQ30s, dusted them off, and mounted them on spikes towards the hard-wood floor. I then stuck 5mm felt pads to the four corners of the stand tops and placed the Patas on them. In my previous explorations, felt pads had always proved beneficial in taking the edge off a cold electronic top-end.
Our test system was made up of a Technics SL1310 turntable with AT VM540 ML cartridge hooked up to a Dynaco PAS-4 tube preamplifier that was feeding into a Hafler XL280 power amplifier. All interconnects were made of solid-core silver, such as the HBS4, with copper mesh shielding. The speaker wires used were a pair of Belden 9497 that I had terminated with beryllium hollow bananas. At the time of listening, all connectors had been sufficiently run in to reach sonic maturity and proven themselves over the course of many months. I was familiar with this system performing with our relatively modern Tannoy XT8F tower speakers.
Switching to the Pata Acustica, I noticed that I had to dial back the volume a little. This was surprising to me, as I would have expected the larger Tannoys to play louder. I later checked and found that both speakers were rated the same 91dB at 8 Ohms. My only explanation for the Patas playing louder was that they did not extend as deeply as the Tannoys, thereby losing less energy on the fringe of the audible spectrum. And this brings me to my second immediate observation: the lack of bass extension. Since the Pata’s woofers were built into the closed cabinet of a bookshelf-size loudspeaker, they quite understandably could not compete in the discipline of bass with a ported down-firing floor-stander of nearly tripple their size. Strangely enough, this lack was only apparent on first comparison, because, soon after, other aspects gained greater importance.
Instead of the ultra-low growling of bass extension, the Patas produced the dry snarling so familiar of some wooden instruments. The result was a more grainy and wooden texture that was predestined for Classical Music, Jazz, and Folk. Katie Melua's “Album No. 8” was presented with a wonderfully large and solid phantom centre. Her voice was lush with only the slightest hint of the recording’s original metallic ringing. While the highs were not overly detailed, they were wonderfully nuanced with great timbre. It was the most enjoyable rendition of this particular album that I had heard until that point. There was great channel separation with the stage extending wide across the room. Stage depth, on the other hand, was less impressive. It suffered from the need to place the speakers close to the wall. This need can be a blessing and a course. However, I decided not to mind and rather marvelled at the warm wooden tones of concert guitar and piano. The Patas managed to highlight the sweetness inherent in the music, perhaps slightly thickened with an small and endearing mid-bass hump.
I decided to step it up a bit and put on Ted Poor’s “You already know”. The saxophone never sounded so sweet to my ears. Drums, especially kettle drums, were presented with great realism regarding their respective material composition. I noticed superb transients and great separation between tonal colours of each instrument. If I were to describe the effect, it would be: “total immersion in the music”. While there were moments in which the Pata Acustica’s small dimensions became apparent, I found myself genuinely perplexed by what these loudspeakers were capable of. I especially enjoyed the fact that I could listen to them and, while doing so, completely forget that I was listening. Walking across the room, I was pleased to find that much of the Pata's musical attraction remained. Well done!
Author: Karsten Hein
Category: Gear & Review
Married audiophiles will confirm that you can tell you are onto something special, when your wife comes home and—without prior talk on the subject—leaves you baffled with a congratulatory comment regarding your new loudspeakers. I cannot remember the exact words, but they were something along the lines of: “By the way, I saw the new speakers. They look absolutely fabulous! Are they here to stay?” With us, the latter is a valid question. Because, more often than not, the speakers are only with us for testing, before they are given back to their owners.
The loudspeakers on display were a pair of Dahlquist DQ10, and they were given to me for sampling by my friend and fellow audiophile Luigi. This is nothing unusual, and those who have followed my reviews will know that I have tested much of Luigi's HiFi equipment over recent months. And—to my surprise—my wife was not the only female showing instant affection regarding the Dahlquists. My sister in law, someone who is aware of my hobby but does not stop by our house on a regular basis, marvelled at the new speakers when she noticed them in the room. I think you will agree that this is not something that women usually do, regardless of how much money you have spent. It is pretty much the equivalent of a guy commenting on the beauty of a girl’s makeup or shoes. Normally that doesn’t happen, right? And yet, with the Dahlquists, it happened twice within a very short timeframe.
The Dahlquist DQ10 was the first loudspeaker manufactured by the Dahlquist company, then based in Hauppauge New York. Among the company’s founders were some famous names in audio, such as Jon Dahlquist and Saul Marantz, Irving M. Fried and Werner Eymann. The DQ10's design was first exhibited at a New York audio show in 1972. It was revolutionary, because it parted with the traditional boxy shape of conventional speakers. Dahlquist had instead constructed a cabinet that suspended its drivers freely in an open array and in correct phase alignment. From the DQ10 onwards, the term 'Phased Array' became the Dahlquist trademark.
The design idea was loosely based on the popular Quad electrostatic speakers of the 60s and, among Dahlquist enthusiasts, is said to have successfully achieved a marriage between the powerful bass slam of conventional cone drivers with the low refraction, high transparency, and phase accuracy to be expected from electrostatic speakers. The resulting loudspeaker had a square and convex frontal face that was covered in dark cloth and flanked by slim sides of natural wood. To play at ear level, the speakers were then positioned on slender stands that, at their base, matched the wood colour of the speaker sides and held each unit suspended on three black columns or pillars.
In combination with the speaker stands, the DQ10 looked light and non-technical from the front and slim from the side. It arguably held greater resemblance to a radiator than a loudspeaker, an aspect that made it both stand out as a design element and an understatement in terms of technology. Strangely enough, its appearance fits into a modern household just as well as it did back in the seventies. It is not surprising, therefore, that close to 60,000 pairs of Dahlquist DG10s were sold between 1973 and the end of its production in 1988. And the Dahlquist remains popular among audio enthusiasts until this day, reaching 4.8 out of 5.0 stars on audio-review. With more and more units going out of service due to their advanced age, used prices of this speaker have been on the rise over the past 15 years.
The DQ10 featured a closed bass cabinet with angled sides and an asymmetrically positioned 10” cone driver. It had a dedicated 5” mid-bass driver to support the woofer and provide the Dahlquist’s legendary mid-bass punch. The midrange was produced by a 1.75" soft dome driver, much like the tweeter, which was of 0.75" dome design. A super tweeter served to extend the upper frequency band using piezo technology. With the exception of the woofer, all drivers were held freely suspended by metal brackets and radiated both towards the front and the speaker's open back. A 5-way crossover made sure that each driver only played a limited frequency band and cut off from mid-bass to super tweeter at 400, 1000, 6000, 12000Hz, respectively. The crossover components played such an important part in the Dahlquist’s overall performance that there were many specialists in the market offering upgrades.
The Dahlquist was rated at 8 Ohms and appeared to be easy to drive, and yet, the phased array design required lots of clean power from the amplifier to sound at its best. 150-200 watts paired with high-current ability went down well with the DQ10. In many ways, its demand for power and its overall performance were similar to Martin Logan, Magnepan, etc. speakers that were of electrostatic or magnetostatic design. The positive aspect was that the DQ10 was also able to compete in this range and that the investment into a decent amp was poised to be rewarding. I hooked the Dahlquist up to our Hafler XL-280 power amplifier to satisfactory result, however, Luigi was quick to assure me that the large Audio Research D-115 tube amplifier (which I had already returned to him) would have been able to bring out even greater effortlessness and transparency in the DQ10. This was well possible, as the Dahlquist liked to be driven a little harder to achieve greater musical coherence.
Although the speaker was positioned relatively low for many seating arrangements, its height became less of an issue when sitting further away from the speakers. Generous distance to the speakers was essential to minimise phase differences resulting from the spacious array design. In our less than perfect listening room under the roof, I was sitting just two meters from the speakers with a huge space opening behind me. I was positively surprised by how full and consistently lush they sounded, both in my listening position and when walking across the room. The DQ10 produced a spacious, intense, and full soundstage that was in many ways similar to a live-event. The thumping of the mid-bass, the space between instruments, and its timbre when playing Jazz and Vocal Jazz resembled the sensation of being at a dingy small-club concert. The speakers produced the most realistic audience clapping that I had ever heard coming from a two-way system. The highs were detailed and spread out as you would expect from an electrostatic speaker and they were non-aggressive at all times. Voices were affectionate and full with a slight leaning towards throaty.
If you like your music to sound lush with rich harmonics, and if you enjoy full-bodied vocals and a live-feel when playing music from acoustic instruments to be found in Jazz, Folk, Singer-Songwriter, etc., and if you own a beefy high-current amp to pair them with, the Dahlquist DQ10s just might be the right speakers for you. Give them a bit of time to settle in and some space to breathe on all sides, and they will make music for you like few other loudspeakers today. And let's not forget the wife acceptance factor, of course.
Author: Karsten Hein
Category: Gear & Review
Where do I begin? Perhaps best with an apology. Because, up until this point, no other speakers had captivated my attention and imagination more than these little bookshelves. And, in my attribution of positive and negative qualities to these loudspeakers, I may not always have been fair. It actually took me quite some time to find this out, and, in the end, it took the whole journey to get to the truth of things.
We had originally bought the KEFs as unobtrusive bookshelf speakers to play background music in our home office. This was well before I began contemplating to set up a second audiophile system to use when the kids where blocking our main listening room. As usual,I had studied reviews on entry level bookshelves that punched above their weight, and KEFs were mentioned repeatedly in this context.
In our office they had to replace some ageing Denon bookshelves that were left over from my old F-07 midi system. Driving these was an entry level Rotel preamp and amplifier combo rated at 2x 60 watts. The match was actually pretty decent in retrospective, as the Japanese combo had been designed with the affiliated Bowers & Wilkins in mind and is said to be following the philosophy of ‘British sound’. This, to my understanding, is characterised by accuracy, tonal balance, and a warm midrange.
While the Denons with their soft dome tweeters had been forgiving of flaws and therefore easy to integrate, the KEFs immediately revealed the sonic weakness of our cheap glass and aluminium speaker stands. Hence, we replaced the stands with a simple DIY design (using 4 cm MDF boards) and immediately noticed a shift from a harsh and technical sound towards a more pleasing and natural performance.
Another aspect revealed by the KEFs was the lack in bass response from the listening room. Our office is situated under the roof of the building and has many acoustic disadvantages: slanted gypsum walls all around that absorb much of the lower frequencies, lots of hard furniture surfaces that reflect higher frequencies, and an extensive room depth of 13 meters with the listening position located at just 2.5 meters from the speakers.
In my attempt to make the KEFs sound well-balanced, I brought in a range of preamplifiers and amplifiers, spanning from Rotel, via Hafler, to Harman Kardon. But the KEFs, to various degrees, remained harsh and bright sounding. I looked at the Uni-Q driver’s sharply pointed wave guides and could not help but wonder whether KEF had somehow got them wrong. Just like I had found my earlier Canton Ventos to have accentuated highs, which, as I later read in a test, actually turned out to be true.
Unable to get the iQ30s balanced in our office, I gave them to my brother for listening and switched to Tannoy DC 6t tower speakers instead. With an additional dedicated bass driver, the Tannoys offered more direct bass punch and sounded more balanced at short distance. Yet, on listening to the new speakers for longer, I realised that they, too, were struggling with the size and structure of the room.
Last week, I received the KEFs back from my brother. And—as during their absence I had started wondering if there was not something I had missed in setting them up—this time I decided not to take them to the office upstairs but rather to hook them up in our main listening room. To be honest, my expectations were not too high, as their rivals downstairs are not some old Denon bookshelves but rather the formidable Martin Logan SL3 electrostatic speakers.
I started out by playing a few songs on the Martin Logans. Jazz and Folk that I know well and enjoy listening to. Then I switched to the iQ30s, half expecting to have a big laugh. Surprisingly, this is not at all what happened. The KEFs set in at similar volume and almost identical sonic characteristic, so that at first, I looked over at the Martin Logans in disbelief. With the tweeter on axis and the wave guides to cast the highs deeply into the room, the KEFs displayed a similar energy and authority when setting the stage.
The SL3s strength lies in the accuracy and subtlety of voices, the iQ30s play voices well, but do not reach that same level of subtlety and intimacy. And yet, they come very close. If the Tannoys love piano keys, the KEFs caress the guitar. Nils Lofgren’s playing was thrust into the room much like I am used to from listening to the Martin Logans. Notes linger a little shorter on the KEFs than on the SL3s, which is no wonder considering the exceptional lightness of the Martin Logan’s Mylar membrane.
The KEFs now sound balanced in our main listening room. None of the former harshness is still present, so that listening for long hours is now highly enjoyable. Bass is full and present and at times even punchier than on the SL3s. However, when it comes to playing very low notes, these are still present on the Martin Logans and simply missing on the KEFs. This should not come as much of a surprise, considering the 30 cm woofer size on the SL3s as opposed to a small 16 cm full range speaker on the iQ30.
The KEFs present a wonderful stage and—like the Martin Logans—can play loud as well, creating a wonderful live atmosphere. The Martin Logans can play louder, of course, but personally I never listen to music at volumes where this would really matter. Considering the size of the KEFs, their ability to fill the room is a respectable. Doing so with accuracy and authority to take on much lager and more expensive floor standing speakers is incredible. Hence, my apology. When the KEFs did not perform well at first, it was obviously not a design flaw of the speakers. It was the room.
Author: Karsten Hein
Category: Gear & Review
Gayle Martin Sanders and Ron Logan Sutherland had been interested in developing their own electrostatic loudspeakers ever since working together in a High End music store in Lawrence, Kansas in the late 1970s. Sanders was working as the store manager and had a background in architecture and advertising, and Sutherland was an electrical engineer. Both men were convinced that electrostatic loudspeakers had the greatest potential in providing High End audio performance, despite the fact that the electrostatic speakers that existed at that time still showed very limited performance in terms of frequency response and dispersion angle. Many of them became famous as amplifier killers, due to their troubling impedance curve nearing a shorted circuit. In addition to their lack of treble and bass response and the difficulty of finding a potent enough amplifier, electrostatic speakers produced a very narrow sweet spot for listening, sounding wrong or unbalanced in most places of the room. Among the few successful models of the time were the Quad ‘ELS’, mildly mimicking the design of an electric heater, and the huge KLH ‘Model 9’. While the Quad was able to reproduce chamber music in its fine and delicate tones, the limitations of its design became apparent when listening to louder performances, such as rock or classical music. The KLH on the other hand was very capable of producing all kinds of music, but its sheer size resulted in very low sales.
Sanders and Sutherland began constructing prototypes, some of which went up in flames when driven at higher volumes, until they found the materials composition that would enable them to play their speakers without fear of destroying them. Improvements included the development of an ultra-light Mylnar diaphragm and two horizontally curved stators made of perforated steel that would allow charges of up to 10.000 volts. According to the company website, Sanders and Sutherland exhibited their speaker concept at the 1982 Consumer Electronics Show in Chicago with only a mock-up and some photographs. The design was so radically new that it became an instant hit in the industry and was honoured with a CES Design and Engineering Award. While the ideas presented at the show were still in the design phase, Sanders and Sutherland had already developed their first working electrostatic speaker based on more conventional designs. It was called the ‘Monolith’, and dealers who heard it play during product demonstrations were more than eager to sell this to the public. Given the early acceptance of their ideas, the two men felt ready to start their own business. Having to come up with a brand name, they decided to combine their middle names to MartinLogan in 1983.
Despite many initial setbacks, including the departure of Ron Logan Sutherland from the company, the manufacturer managed to secure its foothold in the High End loudspeakers market. In the 1990s, MartinLogan created many now famous classics, such as the SL3, the smaller Aerius, and the Quest. The SL3 that is featured here is said to be the ‘rockiest’ of the 1990s range. It features a tall and slender stator panel that is flanked by blond oak rails. The Mylar membrane is almost completely translucent, inviting the application of soft back lighting to the front wall for optical effect. The SL3 is a hybrid speaker in the MartinLogan ‘Sequel’ series tradition and offers a 10” paper cone woofer for bass extension. The woofer is housed in a closed cabinet that also includes the 250 Hz 12 dB crossover and the high voltage transformer needed to generate the static electricity driving the Mylar membrane. The panel is open towards the front and the back of the speaker, and it is curved at the MartinLogan typical 30 degree angle to allow for optimum high frequency dispersion. The SL3 features dual binding posts for bi-wiring, as well as a Bass Control Switch to lessen bass response by -3 dB. This can be quite convenient, if the speakers are to be placed in smaller rooms in which bass response is accentuated. Although each speaker must be connected to a power source for high voltage generation, energy consumption is very low, and the speaker switches into standby if no signal current is detected on the binding posts. A small red light at the front of the speaker indicates when the speaker is switched on.
The MartinLogan SL3s is best driven with a strong amplifier that is built to handle high current feedback, because the impedance curve of the speaker shows some very low dips down to just 1,5 ohms at 20.000 Hz. Due to their bipolar panel design, placing the speakers can be a little more challenging than this would be the case with conventional designs. If placed well, the SL3 is perfectly capable of performing a disappearing act that is amazing to experience, in that the precise location of the speaker becomes difficult to trace and the music appears three-dimensional in the room. The sound is sonically balanced, and bass integration works very well on the hybrid design. At 0,37 sqm panel surface, the SL3 are capable of presenting a huge sound stage, both at low and high volumes. Bi-wiring is of the essence, as control over the woofer becomes sloppy when bridged. This may have to do with the hybrid design and the inherent electric characteristics of the drivers. When connected correctly, the SL3 is capable of lots of punch and a quick decay when needed. Because the panels themselves are of considerable size, listening to music at close distance can be quite overpowering. Some people have stated that they feel as if they are being grilled by them. To lessen this effect, but also to integrate the speakers more effectively into the room, the panels can be tilted backward. Overall, the SL3 provides a great basis for a high quality sound experience, as well as lots of room for experimentation.
Author: Karsten Hein
Category: Gear & Review
I first heard Peter Snell’s C IV loudspeakers perform in the dining room of a Wiesbaden townhouse and was instantly taken in by the realism with which the club atmosphere of Christian McBride’s album “Live at the Village Vanguard” was recreated. The spacious room boasted a ceiling height of nearly 5 meters and was sparsely furnished, with a massive dining table and chairs dominating its centre. The speakers were positioned far away from the walls, approximately two meters from the front wall and 1.5 meters from each side. They were driven with a Dynaco ST70 tube amplifier. Everything in their sound—stage depth, width, resonances—suggested that we were were listening to the actual event, rather than a recording of it. I could literally smell the scent of stale beer and cold cigarettes.
I learned two things that day: The ultimate goal of HiFi does not lie in deeper bass or higher treble, nor in clearer sound or greater dynamics, but rather in the sum of all parts to recreate the authentic event. And second: The room and positioning of the loudspeakers play a major role in making the illusion of a performance become reality. And once we have heard it, once that vision has been installed in our minds, it is very difficult to listen to anything less. Most newbies in HiFi have been taught to dissect music rather than achieve homogeneity. Data, rather than feeling, is the message conveyed by the audio press. Hence, new arrivals to the HiFi scene will look for the right specs on their gear rather than make sure to get the right sound. One can spend a lifetime in HiFi and still have very little clue of what it is actually about.
It is probably fair to say that the Dynaco ST70 tube amplifier played a major role in the recreation of the authentic event. Neither the wattage of this amplifier nor its channel separation, damping factor, signal to noise ratio, etc. indicate the amount of realism this amplifier is capable of. Hence, it is no surprise that, in a world run on facts and figures, it took me close to 50 years and some repeated nudging from fellow audiophiles to finally be able to listen to and comprehend the merits of a performance that deserves the term ‘high fidelity’, i.e. as close to the original as possible. That day, “Live at the Village Vanguard” really felt live. It prompted me to purchase the vinyl record and write a review on it. And it also got me interested in the C IV speakers.
Snell Acoustics was founded in Haverhill Massachusetts in 1976, and the company soon made a name for itself selling audiophile loudspeakers at reasonable prices. After sales service was exceptional, as Peter Snell was a perfectionist and made sure that each of his speakers measured to spec with deviations below 0.5dB per chassis. The same was true of all the replacement parts the company sent out, often many years after the original date of purchase. Audiophiles constitute a small and intimate circle, and especially bang for buck producers often benefit from word of mouth and manage to build up longstanding relations with their thankful customers.
Launched in 1983, the Type C series was among the last loudspeakers actually designed by the company founder himself. Peter Snell died from a heart attack in his factory in the following year. Despite the absence of its original owner, the company continued to evolve and, in 1990, joined forces with Lucasfilm to design its first line of THX loudspeakers. In 2003, the by then renowned Joe D'Appolito joined Snell as chief engineer. In 2005, Snell and Boston Acoustics were purchased by D&M Holdings—which also owned Denon, Marantz, and McIntosh—and Snell would continue to build loudspeakers until 2010. Throughout its existence, the loudspeaker manufacturer stood for great customer service, tonally accurate acoustic designs, and great attention to technical detail.
The Type C IV series are said to have been heavily influenced by the methods and measuring philosophies of the National Research Council (NRC) based in Ottawa, Canada. Typical characteristics of speakers developed in conjunction with the NRC are steep crossover slopes, wide dispersion, smooth off-axis response, and special focus on a speaker’s interaction with natural listening rooms. The C IV has fourth-order crossover slopes, a very flat frequency response that varies very little off-axis. A rear tweeter was added to compensate for the front tweeter’s increasingly narrow beam at high frequencies. It can be turned off with a toggle switch to accommodate smaller listening rooms. The C IV boasts what the company called a “Zero Diffraction” grille. The idea was to wrap the removable grille’s wooden frame around the speaker front in order to minimise the distance between cloth and divers and decrease diffraction.
The additional tweeter at the rear comes in at around 6kHz with a first-order slope. It contributes to the front tweeter’s energy and helps to create a stage impression that is both wide and deep. Depending on the distance to and material of the front wall, the additional tweeter can cause some harshness. To turn the speakers to the room, the C IV’s front tweeter can be regulated. Alternatively, a switch at the back allows us to turn the rear tweeter off completely. To make full use of the C IV’s abilities, it should be placed in a large room with approximately 1,20m distance to the front wall and some distance to the sides. Set up in this way, the rear tweeter supports the illusion of the music breaking free from the source with the speakers themselves becoming invisible. Toe-in helps to correct the stage impression. I must confess that, given the peculiar shape of our room, I did find it difficult to get the stage as perfect as I had heard the speakers capable of in the Wiesbaden townhouse, but I can say that I came quite close.
With the rear tweeter switched on and the right distance to the walls, the C IV created a broad and open stage. And with the grille cloth in place, they produced a pleasantly soft treble, even at short range. For those sitting at a distance of 3 meters or more from the speakers, there is some treble fall-off, and listening without the cloth might be preferable. Despite Snell’s “Zero Diffraction” promise, the difference between open and closed operation is quite audible. In our listening room, the C IV produced an open and spacious top end and a natural and fully integrated bass. The speakers sounded tonally accurate and presented the music nice and full with great timbre on the lower piano keys. There was sufficient presence of the higher piano keys as well, however, in direct comparison they were missing some of the attack of our electrostatic speakers or even our more recent Tannoys. Male vocals sounded natural with a slight tendency of thinning when the rear tweeter was switched on (e.g. Nick Cave). Female vocals showed much of the same effect (Nora Jones, Come Away with Me), especially when playing music from digital sources.
The Snells showed convincing overall dynamics and, due to their large bass driver and ported design, they were capable of swelling in volume quickly. When set at 75dB volume, my wife reported that she felt quite overwhelmed by the music and that she would have preferred to sit farther away from the speakers. It was the first time that I had heard her comment on loudspeaker in this way. I would think that the effect was caused by a combination of the sonic impression and the speaker’s design. Standing far into the room, nearly 120cm tall and 40cm wide, with their black grille cloth in place, the physical image alone was quite intense, indeed.
Author: Karsten Hein
Category: Gear & Review
It may not be immediately obvious from looking at the photos, but I had to think long and hard about how and if to present loudspeakers on this platform. For one thing, loudspeakers are vertical objects, whereas I have made a point in maintaining a 16:9 horizontal picture format in my presentations. Secondly, it was clear from the start that I would not be able to offer a look inside the speakers, for the simple reason that this might cause damage to the cabinet or drivers and thereby lower the resale value – a significant consideration, if I want to continue our Explorations in Audio on a reasonable budget. And, lastly, loudspeaker performance depends to a great extent on the environment in which the speakers are placed. I finally decided that, due to the significant role speakers play in our systems, I would double-layer my photos based on the current listening environment that the speakers are in and to fade out the room features. My intention in doing so was to lessen the prominence of the room and to thereby give you the opportunity of imagining the same speakers placed in your own environment. The advantage is that you see the speakers at the toe-in angle and distance that is most realistic to real life.
Tannoy was founded by Guy Fountain as the Tulsemere Manufacturing Company in England in 1926 and ranks among the oldest manufacturers of loudspeakers in the world. The name is an abbreviation of ‘tantalum alloy’ a material that was used in electrolytic rectifiers that were developed by the company. The Tannoy trademark was registered in 1932. With its original headquarters in London, Tannoy soon became famous as a manufacturer of public address speakers and professional speakers for the military in World War II. Since the name was shown in bold letters on the speaker grills and thereby frequently visible to the general public, to ‘Tannoy’ an event became synonymous with providing amplification for it. In fact, older Englishmen can still be heard referring to public address systems as Tannoys, despite the fact that, more often than not, these systems today come from a wide range of manufacturers. Following economic pressures, Tannoy moved to Coatbridge, Scotland in the 1970s, where it has remained. Today, the company belongs to the Uli Behringer MUSIC Group, that has pledged to preserve the brand and to keep the Scottish location. In recent years, with mainstream buyers turning away from High Fidelity for the sake of cheap USB & wireless gadgets, Tannoy has been struggling to keep their foothold. Tannoy did not invent coaxial driver designs, but they certainly were among the pioneers of this technology. The Tannoy signature Dual Concentric driver was invented in 1948. It boasted a design in which the tweeter was set deeply inside the center of the woofer. The on-axis position had the advantage of improved time and phase alignment and was originally intended for microphone measurements. The original pair ended up being used in Decca’s FFRR studios, and then EMI ordered some for Abbey Road (source: whathifi.com), a studio made famous by The Beatles, among others. Form there it was only a short way to stardom.
The Tannoy DC6t of 2010 comes in a slender modern design with an excellent wood finish. Despite its trapezoid shape, the overall impression is still that of a box, even if it is a relatively pretty one at that. For added stability, Tannoy has mounted the cabinets on an additional and wider floor plate. This is quite effective and has allowed me to place felt pads under the spike coasters without the speaker becoming too rocky. Connection is made via bi-wiring terminals which are quite solid and conveniently located close to the floor. A bit unusual perhaps is the polarity arrangement, with the two positive and the two negative posts being located next to each other on a horizontal line. The tweeter has a titanium dome, and, like all hard surfaces, this can be rather unforgiving if something is not quite right. Clean energy is therefore of utmost importance to this type of speaker. An additional woofer is positioned directly underneath the 6-inch Dual Concentric driver, and the speaker does have an intensional three dB increase in bass response. The cabinet is rear ported but can be placed relatively close to the front wall of the room despite of this. The sound is very precise and the stage is both wide and deep. Instruments reach deep into the room and piano has just the right timbre and attack to be realistic. On the 35 watts HK730 the speakers performed very well, however, only the 60 watts Citation provides the necessary boost for piano to attack. Since the DC6t are 8 ohms speakers, the amplifier power will be exactly as presented. The speakers are ideal for small to medium sized living rooms and will survive an occasional party. 6-inch woofers have their limits of course, especially when it comes to fullness of sound and punch. If you have the room and budget for it, I would suggest that you try the next larger versions DC8 and DC10.
Author: Karsten Hein
Category: Gear & Review
To be honest, my original intention was to sell off a pair of speakers and not so much to purchase a new one. But when a caller expressed interest in my pair of KEF iQ30, somehow I could not help but enquire what troubles he was hoping to solve with them. It turned out he had a small listening room, and that his current speakers were simply too large for the job. To my surprise, they were of the exact model that I had been running a web search on for some time. We consequently agreed that he would bring them along when auditioning mine. What a strange coincidence that was.
Let me explain: Ever since replacing our KEF iQ30 bookshelves with a slim and tall pair of Tannoy DC6T floor-standing speakers, I could not rid myself of the sensation that they too were lacking the muscle to fill our 70 sqm office with music. Although articulate and pleasant in their presentation, their performance mostly inhabited the space right up to the listening position, at about one-fourth of the room’s depth, rather than filling it completely. While the pair of Tannoy DC6T was better suited than the KEFs for that same location, it still seemed a little light on the bass, not terribly underperforming, but not impressive either.
The trouble is, when your designated listening space is a sleek and modern office, this sets some limits to the possible speaker choices, especially in terms of colours, shapes, and sizes. And this does not even consider the WAF (wife acceptance factor), an aspect that does come into play when running a family business. Yet, since the DC6T had been chosen well and also found acceptance from the other dwellers, I tentatively set up an automated web search on the next larger (and more recent) model, the Tannoy XT8F. Hence my excitement when I heard over the telephone that there now was a pair on offer and that it was going to be brought to our house, instead of us having to take the trip.
As you might imagine, our double-interest in each other’s speakers created a strange scenario in which we both had something to gain and something to lose at the same time. I could see that it would be a challenge for both of us not to let this get in the way of enjoyment. Upon his arrival, I helped our guest by carrying up one of his Tannoy XT8F speakers which he had kindly brought along for them to be auditioned, and I immediately noticed how large and heavy they were in comparison to their smaller cousins. Although they were only wrapped in thin blankets and not bulky boxes, I had to take especially good care not to scrape them along the inner walls or banister of our stairwell.
Since the original reason for his visit had been the KEF iQ30s, we decided that they should be auditioned first. I had them hooked up to our DB Systems DB1 + B&K ST140 system in our main listening room. We had a choice of vinyl, CD, as well as the possibility of streaming via Amazon Music available, but we ended up only playing CDs, some of which he had brought along as his reference. It is always fun to listen to other people’s music, and so I simply sat and listened to new sounds or enjoyed playing some of my own. The KEFs do play well in our main listening room, and there were moments in which I forgot the original purpose of our meeting and was simply taking in the music.
Without a final decision on whether he would purchase my KEFs, we proceeded to our office upstairs. Here, our Tannoy DC6Ts were still connected to the Restek V1 + Hafler XL280 combo. With everything perfectly set up from hours of listening, I asked him to sit down and listen to these first. I know how our system sounds, so I simply stood aside and let the music play. My impression was that he enjoyed what he was hearing, however, the second purpose for his coming to Frankfurt was for me to decide whether I was interested in the larger Tannoys that he had brought for me. We therefore quickly took the protective blankets off and connected the XT8Fs to our system.
My first impression was that the sound was muddled and massive, resonating far too chaotically in the large office space. Would I be able to make them blend in with the room, and what was it worth to me to find this out? After all, where the DC6T had been articulate and refined, the larger speakers now seemed disorganised and colossal. However, since this forum is called ‘Explorations in Audio’, you can probably guess my final decision, although it was not one that resulted from a positive first impression. That they already had some bumps and bruises on the finish only contributed to this sensation. What consoled me was the fact that the whole room was energised by these new speakers. And this was the one thing the smaller Tannoys had been missing. We both made our respective purchases, content with each other’s offers, and the buyer went on his way.
I have learned not to judge new gear arrivals too quickly. Some of the best devices I have ever owned, have taken me weeks, if not months to set up well. New speakers can be tricky in this way, because many factors come into play: distance to the front and side walls, width of placement and toe in angle, listening position, and system matching, to mention just a few. These factors are hardly solved within a day’s work, as even one centimetre difference will have a pronounced effect on the speaker’s ability to perform. While this is true for all speakers, larger speakers tend to be more difficult to place, especially when taking interior design considerations into account.
Given some time to experiment, I came up with a placement that allowed me to keep my accustomed listening position at about one-fourth of the room’s depth with only minor adjustments. The XT8F are positioned about 5cm further away from the front wall than the DC6T had been, and my listening position had to be moved 10cm back. This way, the toe-in could remain unchanged with both speakers directed just past my ears instead of straight at them. This has a positive effect on sound stage and reigns in the highs which are a bit overly pronounced when played on axis. During the placement I listened to Bruce Springsteen’s Song "Tougher than the Rest" from his live on-Broadway performance. This way I could be sure that there was a real stage to be recreated. In fact, I listened to it so many times in an endless loop, I have been humming it ever since.
The XT8F have a full and rich sound, in comparison with the DC6Ts, but also more generally speaking. At close distance, the sensation is one of bathing in music. There is plenty of good quality bass, and due to their 91dB performance at just one watt, they play loud with ease. Although they look chunky and provide plenty of depth, they play voices intimately, as if listening to a cozy living room performance. This contrast of mighty roar and delicacy is highly addictive to my ears. Due to their concentric construction, the XT8F are very exact when it comes to locating instruments. Perhaps not quite as exact as the DC6T but still industry leading at this price level. If the sixes sounded as though one was taking part in a studio session, the eights invite you to the jazz club. Both speakers are insightful enough to be entertaining at all times, but if the room is right, the eights appear just a bit more rounded, especially towards the lower end. I now understand that in a smaller room this much bass can be overwhelming.
When the music is subtle, the XT8F will play this with delicacy and insightful detail, and when the orchestra swells, their excellent dynamics generated from a 50 litre corpus with down-firing bass port will thrust forward with a vengeance. I could not detect any compression when going loud, which is new to me and wonderfully pleasing. It quickly became clear that this is a completely different beast. Those who purchase the XT8F hoping for an upgrade to their DC6T might be disappointed that their room is simply too small of a playing companion. But those who have ended up with the DC6T in error, like myself, have a real chance of being very happy.
Author: Karsten Hein
Category: Gear & Review
When my friend Charles asked me to digitise his record collection for him — the remaining pieces he had salvaged from the flooding in his basement — I needed a pair of headphones to oversee the process with. My last use of headphones had been so long ago that I could not remember who I had lent my Sennheiser HD580s to. Nor could I be sure that they still existed, considering they were from 2008.
I contacted Jens, who is a composer and producer of music himself and usually quite knowledgeable about what is available on the professional studio market, to ask him for advice concerning reasonable headphones for my task. He mentioned that he was quite happy with his AKG K271 MK2 headphones. Jens referred to them as being “honest and revealing”. If I wanted even more honesty, he suggested, I might also consider the open K702. I thanked him for his prompt and knowledgeable support and bought the Beyerdynamic DT 990 PRO instead.
Do you have such moments, in which you know that you are getting excellent advice and then end up doing the exact opposite? In retrospect, I think it was the AKG headphone’s bulky look that put me off purchasing them. The two solid steel rods connecting the two ear pieces that remained fixed while only the head strap was lowered. This part was designed so much more elegantly on the Beyerdynamics and made me blind to some obvious disadvantages that should have got me thinking, especially with my prior knowledge in audiophile matters.
For one thing, the Beyerdynamic DT 990 PRO only had one single, non-detachable signal cord. A single cord had some disadvantages, when it came to signal integrity, because the two channels ran in very close proximity to each other over a longer distance. This could potentially cause inductivity that negatively affected the signal. The cable being curled like an old telephone cord only contributed to this phenomenon. In HiFi, cables touching cables was generally not a good idea and to be avoided.
I also could not help but wonder, if the two channels had cables of the exact same length, as one of them needed to be run over to the other side of the headphone to reach the other driver. The relatively poor center image of the 990 PRO, especially in comparison with the T1 of the same company, made me doubt that this was the case. One could argue that this should not have mattered on a short cable run such as this. But, if this was the case, why did Beyerdynamic not simply use the same cable design on their flagship T1 headphones? The answer is simply: Because in HiFi everything matters.
The fact that the cable was not detachable could be seen in two ways: On the positive side, a soldered connection did not inject as much mass into the signal path as a plug would have done. But on the negative side, it meant that I was stuck with the cable it came with, even though I did not like it much. No upgrade was possible in this case, unless I was prepared to take out my soldering iron and get busy soldering new connections.
The DT 990 PRO were of light weight and did not press too firmly on the temples. I could see that wearing them for many hours would not present a problem. I did find that they could get warm with time and would not recommend them in areas of high humidity or temperature. However, all this I could have easily lived with, if they had offered greater tonal balance. This was the most obvious weak point of the DT 990 PRO headphones and made them rather undesirable for audiophile listeners. It was sometimes said that they were non-linear or ‘HiFi’-sounding — whatever that meant — but I do feel this to be an understatement.
Some frequencies of the mid-band strangely seemed suppressed, either by the driver or cabinet design, or by the thick acoustic foam-padding over the drivers, as to make voices sound thinner and sharper. I tested this with three different kinds of output: my computer sound card (only when digitizing records), our Denon CD player’s internal headphone amp (for comparison), and our Douk Audio T-3 Plus tube headphone amp (during an audition). The loss in frequencies remained similar, and this, although the treble was the harshest on our T-3. Since the latter had no difficulties driving high-resistance headphones and worked very well with the Beyerdynamic T1, I assumed that the effect of a recessed mid-band was built into the headphones themselves.
Given my narrow range of amplifier equipment, it was well possible that the DT 990 PRO would have performed better in combination with other devices. However, especially having the T1 as benchmark, I find it hard to believe that any differences in source design could paste over the general tendency of the DT 990 PRO to sound unbalanced, especially on vocals.
Author: Karsten Hein
Category: Gear & Review
Following my recent exploration of the affordable T-3 Plus headphone amp by the Chinese brand Douk Audio, I was left wondering how good this little amp actually was. At the time of my test, I was lacking a pair of headphones that would be revealing and balanced enough to allow me a definite verdict from an audiophile perspective. Dissatisfied with the open ending of my exploration, I kept pondering on how to proceed, until I remembered that my friend Michael owned a pair of top-of-the-line T1 headphones from the German manufacturer Beyerdynamic. I invited Michael over to our house and asked him to bring his headphones along. That evening, we set up a test to examine the merits of both: his headphones and Douk Audio’s T-3 Plus preamplifier.
As reference, we used Luigi’s Pata Acustica speakers driven by our Hafler XL-280 power amplifier and our Dynaco PAS-4 tube preamplifier. The latter had its focus on vinyl and a great phono stage. The signal source on this system was a Technics SL1310 turntable with AT-VM 540 ML cartridge. I knew this system to offer excellent tonal balance and dynamics while being revealing enough to be highly engaging. If there was room for criticism at all, this would be in respect to bass extension. The Pata Acustica bookshelf speakers had a natural limit when it came to bass that I generally did not mind but some hard-core bass-lovers might object to.
The test system consisted of our Philips GA212 turntable with Shure M 75 ED cartridge, connected via Fast Audio cables to Douk Audio’s T-3 Plus preamplifier. This had its noise-free energy coming from a new and dedicated linear power supply. By that time, I had already decided that I preferred the Douk’s phono stage abilities to those of its line input. I have not checked, but it is well possible that the line stage is passive on the T-3. On the evening of our test, we focused on three songs on vinyl: Seasick Steve’s minimalist “Hard Knocks” representing male vocals, Helge Lien Trio’s jazzy “Gorogoro”, and Katie Melua’s relentlessly swelling vocals on “Heading Home”. We started with Seasick Steve on the Pata speakers, then moved on to the T-3 Plus with my own Beyerdynamic DT 990 PRO headphones for comparison. Finally, we connected the Beyerdynamic T1. We paused to compare our findings following each step, and although we did not agree in all aspects, our basic assessments turned out to be the same.
The male singer's voice sounded tonally most accurate via the Pata Acustica loudspeakers and very similar to this via the Beyerdynamic T1 headphones. While the loudspeakers set a wider and highly accurate stage and sounded a little fuller, the T1 sounded more intimate and reached a little lower in bass. Slightly more detail was audible on the loudspeakers, with individual notes trailing longer. However, this was mostly due to our new Audio Technica cartridge, the particular cut of its ML stylus, and the greater ability of the Technics turntable. Our own Beyerdynamic DT 990 PRO headphones, in comparison, revealed a midrange dip and did not manage to hold the music together as well as the other two contenders. This made bass sound more boomy and treble more pronounced. Additionally, it seemed as if there was a cloak over some frequencies, an over-dampening of the headphone shells, perhaps. Individual high-notes, especially, were flung deeply and seemingly detached into the cloak of darkness that otherwise prevailed. Interesting, but somehow not useful for voices and acoustic guitars.
On Helge Lien’s Jazz piece, we began with our reference speakers that gave a formidable impression of the event. We then went on to audition the DT 990 PRO first. Our reasoning for changing the original order was that we did not want to fall into the trap of fulfilling our expectations. Without vocals present, the DT 990 PRO sounded natural and exciting, lacking some of the fullness of the instruments on the Pata speakers. While the rendition was engaging and entertaining, careful listeners could notice a lack of substance. The Beyerdynamic T1 brought substance back and held the performance together. Here, the stage seemed wider, and locating instruments on stage was easier, although the speakers prevailed in the latter aspect. There was sufficient musical detail in all three contenders, but the T1 and the Pata's sounded most accomplished.
We completed our test with Katie Melua’s “Heading Home”. The recording showed a slight metallic ringing to Katie’s microphone that might have added an interesting effect on a car stereo but seemed rather misplaced in audiophile listening. Therefore, any character trait during reproduction that highlighted this effect was unwelcome. Not surprisingly, the revealing nature of the Audio Technica cartridge brought out the metallic quality of the recording. The Pata handled this rather well by tonally integrating the effect without letting it break away. This did keep the listener engaged, if only to wonder when the treble would lose control of the moment. The DT 990 PRO brought about a more unfamiliar Katie Melua, accentuating some of the rougher aspects of her voice. Katie seemed more rocky, more like a younger Pat Benatar. I enjoyed listening to this rendition of her voice, until I started longing to have the familiar Katie back. The DT 990 PRO's suppressing of selected frequencies did not come without risk, of course. On the other hand, the T1 managed Katies voice very well, partly because they did not have to struggle with input coming from an over-sensitive ML stylus. The Shure’s elliptical diamond did not add any sibilance (as it sometimes did). Consequently, the performance seemed clear and solid, although not quite as suspenseful as on the Pata system.
Beyerdynamic’s T1s are tonally accurate sounding headphones with a solid sound stage that present the music performance as a homogenous whole. The excellent materials used pay off in creating a pleasant and entertaining musical experience. These headphones deserve a good amp that can deal with high capacitance output of 300-700 Ohms. To both our surprise, the small Chinese T-3 held its own during our test, if only after upgrading, tubes, power supply, and interconnects to an audiophile level. Following these significant upgrades, I can recommend both, even in this combination.
Beyerdynamic has a long history in audio electronics. The ‘Elektrotechnische Fabrik Eugen Beyer’, as the company was first called, had its origins in Berlin, Germany, during the 1920s. Its first products were loudspeakers for use in the emerging film palaces. Beyer's first pair of dynamic headphones, model DT 48, followed in the 1930s. With Berlin having been severely bombed during World War II, many German companies left the city ruins to seek new opportunities elsewhere. Eugen Beyer finally found a new home for his operations in Heilbronn, a German city located about 600km south-west of Berlin.
Famous Beyerdynamic products where the DT 49 (1950s) hand-held headphone, used in record shops and popular record bars, the M 160 ribbon mic (1957), and the E-1000 microphone (1965). At the time of writing this, Beyerdynamic is still based in Heilbronn and operates an American subsidiary Beyerdynamic, Inc. in Farmingdale, NY. The company offers a range of products, ranging from headphones and microphones of conferencing and interpretation equipment.
Author: Karsten Hein
Category: Gear & Review
In my recent article on the Beyerdynamic DT 990 PRO, I wrote that my reason for purchasing new headphones had been that I could not remember who I had given my old Sennheisers to. Some weeks later, I found them at my parents’s house, next to an unused field recorder. As it turned out, the Sennheisers were much older than I remembered (and had professed in my article). A faded and wrinkled receipt showed that I had bought them at Galeria Kaufhof in 1996. All the more, I was surprised to find them still in good shape, even after 25 years. And something else surprised me: Even before listening to them again, I still had a solid memory of their sound.
Before purchasing my Sennheiser HD 580s, I had listened to music with a set of closed Panasonic studio monitors that we had bought in New York during the 1980s for the pretty steep price of 250.00 USD. I remember that they had impressive bass and were able to lift the ear-pieces off your head. They also featured an otherwise decent sound. I carried them around until the cushions disintegrated and their black and flaky residue would be clinging to my hair for the rest of the day. At the time, I was reluctant to give them up. And switching to the open Sennheiser HD 580 seemed to be a sonic step back. Everything I had loved about the Panasonic headphones was gone. Instead, there was this baren new clarity, a quality that I had trouble warming up to at the time.
Perhaps this was partly due to the fact that the relatively high impedance of 300 Ohms made them more difficult to drive with the equipment I owned in the 90s. It seems that these headphones were directed at the professional market, where high impedance is less of a problem. And, since the Pioneer had been of closed design, the semi-open Sennheisers seemed far less punchy in bass. This made me miss the familiar fullness of the lower frequencies. However, dusting them off and listening to them again after so many years, with years of discerning speaker auditions having passed on my side, my taste in sound and music had also matured, and the Sennheisers left a much more balanced impression than they used to. I was able to see the advantages of such an open design. It all depended on the application.
On professional recording equipment, such as our Zoom H4n, the HD 580 did do quite a wonderful job in depicting voices and stage dimensions. I noticed this first when I played back a recording of my father playing the guitar. Both the guitar and my father sounded so realistic that I had to look up from the monitor to check, if he had started playing again. I was amazed to find him sitting with his hands by his side, patiently waiting for me to finish my listening check. A simmilar effect happened, when I was listening to my recording of Luigi’s Snell C-IV loudspeakers playing the first song of Jörg Hegemann’s “Foot Tappin’ Boogie” album. I had set up two large-diaphragm studio mics, pressed record and then walked across the room to turn on the CD player. Listening to this again during video production a few days later, I repeatedly looked up, fully convinced that someone was approaching me from behind. The impression was fabulously real.
When it came to voices, the Sennheiser HD 580 deserved the name ‘precision’. Tonal accuracy would have been an even better name. And this character trait did not depend so much on the equipment driving them, either. On the other hand, they were not particularly strong in terms of bass extension. For optimum bass, they required a strong dedicated headphone amp. On our T-3 Plus with GE tubes, the HD 580 showed a punchy mid-bass, but lower bass frequencies were still under-represented to the extent that it took some getting used to. At the higher end of the spectrum, the Sennheisers tended to focus on the essence only. Sadly, this meant losing some of the nuances and subtle transients of the music. This made them excellent companions for smaller recording studios to monitor the tonal balance of voices and guitars but also rather useless for genuine audiophile listening, which was perhaps not surprising given their relatively low price point.
As I found out when doing research on the specifications, there is a real HD 580 fan community out there. And, to my delight, I even managed to find a new replacement head-cushion for my Sennheisers online (not yet shown on the photos). They were well-worth keeping, if only for monitoring future studio sessions with our Zoom recorder. In this scenario, I could not imagine anything more useful.
Fritz Sennheiser set up operations in a farm house near Hanover in 1945 post-war Germany. His young start-up Laboratorium Wennebostel, or ‘Lab W’, soon became a supplier of measuring equipment to Siemens. In 1958, the company changed its name to Sennheiser electronic. Although Sennheiser’s MD 1 mic still borrowed heavily from existing microphone designs, the MD 2 mic was of the company’s own engineering. Other microphones soon followed, with the first Sennheiser wireless microphone system reaching the market in 1957. In 1960, the company introduced its famous MD 421 microphone, which is still available in stores today.
The company produced a range of successful products and soon expanded to form subsidiaries in over 20 countries. Famous headphones include the HD 25 (1988), the Orpheus electrostatic headphones (1991), the HD 800 high-end headphones (2009), and the electrostatic Orpheus successor HE 1 (2015). Both the Orpheus and the HD 800 are considered to be top of their range products. At the time of writing this article, the company is run by the Sennheiser family in its 3rd generation.
Author: Karsten Hein
Category: Gear & Review
Tag: Headphone Amps
“Is nothing sacred?” was the title of Salman Rushdie’s famous essay that he wrote in defence of his 1988 novel ‘The Satanic Verses’. As it so happened, his work of fiction had prompted Iran’s Ayatollah Khomeini to declare a worldwide ‘fatwa’ on Rushdie, which was, in essence, an order for the author to be killed. With his essay, Rushdie was hoping to mobilise sympathy for his train of thought, unfortunately, without much success. The author had to remain in hiding for years to come. As Rushdie pointed out in his essay, the question “Is nothing sacred?” is usually of rhetorical nature and posed in hope of reaffirming agreement or arousing mutual outrage, whenever an established system of belief is threatened by the careless non-believer: A church that is turned into a restaurant or discotheque. — Is nothing sacred?
This same question must have been on the mind of my friend and fellow audiophile Luigi, when he learnt that I was making preparations for an article on a cheap Chinese import preamp by the ‘eBay-brand’ Douk Audio. Considering the line-up of reputable audio devices presented on this website, my musings on the price-driven T-3 to the well-seasoned Hi-Fi connoisseur must have seemed like a wilful attempt at dismantling my credibility. “I don’t know anyone, who is serious about Hi-Fi and would consider making such a purchase” was his impromptu view of my endeavour.
I could understand his objections, of course. In purchasing audio legends from the past, we had the clear advantage of hindsight. Over their sometimes 40+ years of existence, the true gems of historical audio engineering stood out from the unworthy rest like beacons in the night. And, making purchases from one connoisseur to another, the true merits of each unit were mostl well documented, and the risk of making a financial loss was minimal. The sonic discoveries were glorious. Under the radar and far from the regular consumer claptrap, we found ourselves protected in the world of the informed. Why would I open Pandora’s box for a new and far away contender, when there was still so much of worthwhile history waiting to be rediscovered?
On the other hand, many of today’s legends started out as unorthodox price breakers in their own right. If you think of David Hafler, for example, and his affordable Heathkit audio gems, these, too, were in stark opposition to the more established (and pricier) Harman Kardon designs, and they were often frowned upon by the more established brands. Hafler’s designs earned their reputation and their eternal place in our hearts mostly based on their sonic virtues. In this context, it would be interesting to draw up a comparison between low-price engineering successes and their higher priced counterparts. There would ultimately be some surprises, because a product’s merits can best be gauged by how satisfactory it is to the owner over the course time. A point at which existing vintage models clearly have the upper hand.
I came across the T-3 Plus when I was preparing to digitise records for a friend of mine. Charles had seen his record collection flooded in the recent heavy rainfalls and had decided to leave what he could salvage with me for restoration and safe-keeping. In return, he had asked me to create CD-quality files for him that he could store and play on his computer. Suddenly faced with this new task, I realised that I did not have a headphone amp that would allow me to match our 250 Ohm headphones with the sound card of my computer. At the time, I still had limited experience with headphones, dedicated headphone amps, or digitising records. Not a great starting point, except for those with the heart of an explorer. And so, I set out to search the web for a reasonably priced headphone amp, taking into consideration new and used units alike.
The T-3 Plus caught my attention because it had a fashionable Steampunk look about itself. It stood upright and combined both dark-brown metal and wooden elements. The industrial look was further highlighted by the tube sockets being conveniently located along its top. It also featured built-in RIAA correction for MM and MC turntables, the combination of which was rare among the smaller tube preamps. I was pleasantly surprised that it also featured micro-switches that would allow me to adapt its input to the exact specifications of the phono cartridge in use. OK, and it probably helped my decision that, after looking at the T-3 Plus just once, it continued to be displayed to me during my following searches. I could have cleared my cookies, but I decided that I did not mind. When I made the purchase I was fully aware that this might be considered blasphemy by the hard-core believer. To me it was an act of inquisitive playfulness at most.
The T-3 Plus arrived here well-packaged in a foamed box of organic grey cardboard with the words “Transmit nature music” written on it. Except for the poor English, nothing about the packaging suggested that this had been designed carelessly. The box contained the preamplifier, a set of Chinese 6A2 825M vacuum tubes, a cheap 1.5 ampere switching power supply, and one 3.5mm to RCA auxiliary interconnect. Unfortunately, both the interconnect and the power supply were of such poor sonic integrity that they would work against Douk Audio’s mission statement of transmitting natural music. — I also had a suspicion about the quality of the tubes, but I was willing to give them a try before making a decision about them.
Although T-3 Plus was of satisfactory build quality, I noticed that it was delivered without rubber feet that would help the unit stay in place in the event of a accidental tugging on the headphone cord. I still had some anti-slip feet available and attached them to the base. The front of the unit featured the 3.5mm headphone socket and a single knob for operation. Although I liked the idea of the power switch being part of the volume control, I did find the dial itself fragile. A bit more resistance would have been desirable. If given a choice, I would also have chosen larger headphone jacks over the smaller ones. The back of the T-3 Plus featured RCA/cinch sockets for phono with a massive gold-plated ground prong. I would have liked to see the same RCA/cinch standard as auxiliary input as well, rather than having to purchase a dedicated interconnect for a 3.5mm socket. Additionally, a manual selector between the two inputs would have been desirable, instead of giving the auxiliary signal automatic priority when connected.
I began my listening adventure with our trusted Denon DCD-1420 player as music source. The T-3 Plus was connected via its original accessories: the cheap interconnect, tubes, and power supply. Unsurprisingly, the music sounded flat and stale, lacking rhythm, excitement, etc. I compared the sound to our Denon’s onboard headphone amp and found the Denon to be far superior. I then understood that some major changes would be necessary in order to get this little headphone amp to shine — if it was possible at all. So, in true explorer spirit, I scanned the web for a linear power supply. Many of the supplies I found had displays that showed the mains voltage and similar futile information. For audiophile listening, I had to make sure that our power supply was free from noise factors. I also contacted Mr Becker and asked him to manufacture a 3.5mm to RCA interconnect for me. I wanted to make sure that I was listening to the headphone amp rather than the cable. We decided on a solid core silver interconnect with Elecaudio’s silver-plated tellurium-copper on the side of the source, and Oyaide’s P-3.5SR silver-plated rhodium plug on the side of the amp.
The power supply and interconnect arrived about three weeks later. I decided that I would give all parts a break-in time of at least 80 hours. To do so, I let our DCD-1420 play for a few hours each day, mostly during working time, in order to monitor the sonic development at a certain interval. While the linear transformer did improve bass response right from the start, the new silver interconnects laid bare some strange metallic sibilance in the treble that, once identified as such, troubled me each time I listened. And, while the T-3 Plus had matured in bass and rhythm, the Denon’s internal headphone amp still had the lead in terms of spacial and tonal accuracy. I was starting to be a little frustrated and suspected the tubes to be the culprit. Some research on the subject brought to light that Chinese 6A2 825M vacuum tubes can be purchased for 3.00 EUR a pair, whereas audiophile vacuum tubes rarely sell below ten times this amount for a matched pair. I was willing to expand my experience in ‘tube rolling’ and contacted Douk Audio for advice. They wrote back to me the following day, giving me a list of possible replacements: 6J1, 6J2, 6J5, 6K4, 6*1N, and 5654.
Since I was still a relative novice in the subject of vacuum tubes, I conducted another web search and came across an article by Rainer Uhlmann published on the audionist.de website, in which Rainer, a musician, described how different tubes affected the music in his listening setup. He explains his findings in such vivid terms that I, too, managed to get a good impression of the potential differences between them. The tubes used in his experiments were:
From Rainer’s description, I shortlisted three tubes: Mullard CV4010, General Electric JAN 5654W, and Ericsson 5591. Looking for the most versatile performer, I ended up purchasing a matched pair of JAN 5654W tubes. Unfortunately, this meant having to leave the Mullard and Ericsson tubes for another project. As to my order, I was not sure what to make of the branding of the JAN 5654W tubes as 'General Electric'. The vendor was the Chinese Hi-Fi seller 'Nobsound' who operated on a similar basis as Douk Audio, showing their products mostly on AliExpress, eBay, and Amazon. I doubted that General Electric still made tubes. And the tubes did not look as though they were 'New Old Stock' (NOS), either. I assume that they were instead manufactured in China (like everything else these days), using old General Electric tube patents and designs. If you know more about this, your comment would be much appreciated.
On the day the new tubes arrived, I started listening straight away with great apprehension and was deeply disappointed to find that the metallic sibilance in the treble still remained. It seemed as if there was a tonal up-shift that affected the complete spectrum and caused the sound to be unnaturally bright. Since burning in the tubes for 80 hours had shown no effect on my previous setup, I was not very hopeful that I would see much of an improvement this time around. Still, I decided to give the headphone amp a final chance to shine. I let it play music for five hours a day over a period of five days and made a point not to listen during this time. When I finally returned for auditioning, I found that the JAN 5654W tubes proved less resistant to burn-in and showed a much-improved performance. The top-end had meanwhile become softer and developed a teasing warmth and affection. During passages in which I used to fear being attacked with the harsh sibilance of female vocals, I could now feel a playful attraction. The space between individual instruments had increased, and there was now sufficient sonic width and depth. I could see myself listening for fun and relaxation in this setup without having to suffer any harshness.
Before reaching the technical limits of the T-3 Plus headphone amp, I was able to hear the shortcomings of my monitor headphones. These were the older 300 Ohm Sennheiser HD580 from 1996 and the more recent 250 Ohm Beyerdynamic DT 990 PRO from 2021. Both of these could be classified as entry-level headphones, although the DT 990 PRO could also be found in professional studio applications. While the Sennheiser managed to hold the mid-band frequencies together and gave a more solid-sounding performance, it lacked bass extension and lost most of the delicate transients. The Beyerdynamic, on the other hand, had wonderful bass extension but was lacking mid-bass punch. It gave lots of room to transients and managed great instrument separation, perhaps at the cost of losing the performance as a homogenous whole. It seemed as some frequencies were purposefully muffled in order to give others prevalence, which resulted in a somehow muffled sound in which room aspects where missing.
I ended my exploration of Douk Audio’s T-3 Plus with mixed emotions. While the basic unit was available at an entry-level price, I found that serious audiophiles would need to invest at least twice this amount on the periphery to raise its performance to an acceptable level. Connectivity, as well, entailed some compromises that made this unit a niche product for very specific scenarios. In order to give you a definite verdict on T-3’s full capabilities, I would have needed to invest in equally as capable headphones, a shortcoming that I had yet been unaware of. Therefore, be sure to consider these factors in application before making a purchase, and then decide for yourself, how deep into the rabbit hole you are prepared to crawl. I certainly enjoyed the trip, perhaps because it was unorthodox and almost forbidden. And while doctrine would force us to make a choice between good and evil, loyalty or blasphemy, the open road of exploration meanders freely and ultimatley becomes an amalgamate of the two sides.
Note: For further exploration of Douk Audio’s T-3 Plus see my article on the Beyerdynamic T1 headphones which helped shed more light on the subject.
Type: Tube Headphone Amplifier / Preamplifier
Audio inputs: RCA phono / 3.5mm Auxiliary
Audio outputs: 3.5mm headphone / RCA stereo
AUX input level: 1V
RCA output level: 2V (max.)
Frequency response: 20 -20.000 Hz, -1dB
Total harmonic distortion: 0.01%
Signal to noise ratio: 100dB
Phono input: 0.005V
RCA output: MM = 530mW (max.) / MC = 5V
Total harmonic distortion: 0.2%
Signal to noise ratio: 89dB
Headphone output: 130mW@32Ω
Headphone impedance: 32-300Ω
Operating voltage: DC 12V
Dimensions: v(W) 50mm; (D) 120mm; (H) 138mm
Weight: 540g / 1.19lb
When discussing components of HiFi systems it is almost impossible to avoid the subject of cables. They constitute the essential link between the individual units, and they play an important role in the fine-tuning and matching of the HiFi chain. They come in many different designs and various gauges, running from straight to braided, with various degrees of and completely without shielding, and they are made of all kinds of wire materials from aluminum to copper, silver and gold in various coatings. For copper alone, there are many different grades and production methods that will effect the crystalline structure. In setting up a proper HiFi system, cables should be selected with the same care as the other components.
Choosing a matching cable requires a good ear, a supportive HiFi dealer, or friend with lots of gear, and some experience. Sadly, it is next to impossible to find the best cable for a specific position in the system from reading the specifications or studying the design alone. While research and personal convictions will help to guide us in a general direction, in the end, the cable will need to be heard in comparison with others, and this in precisely the system and in the room where it is to play. An interconnect, for instance, that works well between our CD player and preamplifier might perform poorly when placed between preamplifier and power amplifier. While it is difficult to find two cable types that sound the same, there is lots of scepticism among HiFi enthusiasts about the necessity of spending money and time on the subject.
Author: Karsten Hein
Category: Gear & Review
Is it generally a good idea to buy audio cables for our HiFi system from cut-price vendors in China? The answer is: no.—Is it a good idea to buy this particular audio cable from China? The answer is: you bet! There are exceptions to every rule, as we shall see. The problem is that we can never be certain, whether the item we are looking at is the rare and exciting exception, or just another recapitulation of the boring old rule.
From the very first paragraph of writing about this interconnect, I can already feel the sad downside to cheap Chinese imports: The ever-present lack of credibility, certainty, and responsibility towards the customer. As some market observers will know, the cable shown here is sold on eBay. This particular variant is from a Chinese vendor by the name of ’audiophileseller’. But is this even a proper shop, or just a makeshift eBay address, hastily set up to sell off products that have fallen off the back of a truck? And who—or what—does the term ‘audiophile’ in the seller’s name refer to? The shop? The products sold? Or does it merely describe the ambition of the seller, as the name suggests? These are important questions, for those wanting to estimate the risk involved in purchasing from an unknown vendor in far-away China. The few ratings from international buyers rarely help in obtaining a clear picture.
To make matters worse, similar-looking cables can almost always be found from other Internet vendors, often for even lower prices. And, consequently, down the rabbit hole we go: Are these the same products? Are they better or worse? And—finally—are any of these items actually made out of the materials that they are claimed to be? In other words, how many buyers are going to have them delivered, take them apart, run a materials test, and publicly report on them, if their incentive was nothing more than the petty impulse of wanting to save a few bucks? By nature, tests of this kind are rare. And when they do occur, there is still the worry about consistency in the quality of manufacturing. Can we trust the craftsmanship to always be on the same level? Or do products made of similar components differ, simply due to changes in the quality of manufacturing?
In our western mode of doing business, branding helps us to give a product a finished form and character, and—paired with a contact address in case of trouble—a sense of legitimacy. The Chinese brand-free culture sees no other obligation, than to present the most attractive bling at the most approachable price, right at the point of sale. Much like a street vendor. After all, the “30-day test-and-return policy” is little more than a joke. If we consider that many cables have run-in times of more than 30 days, the only thing we can say for sure within this period, is that the product has arrived. And at times, I have even found that the sellers have meanwhile closed shop and are no longer able or willing to accept returns. For these very reasons, I have spent quite a sum of money in hunting for cables that fall short of the term ‘audiophile’ over the years.
Ultimately, this leads us back to the initial question. Is it a good idea to pruchase cables directly from China? Well, I am surprisingly relieved to find that the particular cinch/RCA interconnect that is presented here is a welcome exception to the norm. The plugs really are from the Chinese HiFi-brand Audiocrast, and, from what I could hear in my listening tests, I am also willing to believe that they are of solid copper and plated with 24k gold, just as described. In fact, the plugs are so heavy and slide on so well that they are a genuine highlight in themselves. The cables are described to be of OCC copper with an 8N silver coating. This, too, I can believe.
After all, there is something incredibly satisfying about stumbling upon a great cable. It is usually not any one particular thing that it does well, but rather the sum of its characteristics that comes together in what can only be described as—music. Now, this appears to be an easy enough conclusion to reach, you might think, because all cables connecting audio components cannot help but play the music that is fed through them. Sadly, this is only partially true, because, more often than not, a significant amount of the content of the original music is lost in terms of speed, dimension, dynamics, and tonality. The accumulated loss accounts for the phenomenon that people listening to your system play from another room will not think you have invited the musicians to play for you. The better our system is, the harder this distinction becomes.
The Audiocrast OCC and silver cable, sold by a Chinese eBay vendor, with its golden cinch/RCA plugs, braided design with Teflon dielectric, silver-plated OOC copper wires, and its non-branded manufacturer in who-knows-where, pulls of a magic act to rival well-known manufacturers, such as Kimber, Fadel Art, etc. Perhaps it is just a lucky shot, but the combination of materials works great, with the OCC copper-core providing tonal harmony and the silver-coating maintaining speed. If your system has music inside it, this interconnect will help you bring it to the surface. Never mind that of the three cables I ordered over a period of 4 months, not two actually look the same: two cables have direction indicators that are missing on the third. And one of the two cables with indicators sets itself apart from the rest by having the red and black colour-coating of the plugs confused.
Note: I did ask the ‘audiophileseller’ eBay shop for specifications on the cable (with plugs or without). The response was that they only knew it was made of OCC copper and silver, terminated with gold plated Audiocrast plugs. Well, I expected no less.
Author: Karsten Hein
Category: Gear & Review
When the subject of cable quality comes up in HiFi forums, it is best to disregard the post completely and look at the one-thousandth picture of an amplifier, CD-player, or turntable instead. It is perfectly acceptable to write a comment on an amplifier, such as ‘nice’ or ‘cool’. One might even claim something down the lines of “a friend of mine has one” or, more boldly, “I heard this one once, but I liked another one better”. Because it has been accepted that CD players sound different from each other, because they are made of different materials, have different layouts, etc. Some are better shielded against outside interference, some feature more opulent electronics. The same can be said of preamplifiers, amplifiers, streamers, speakers, and other audio devices. The answer to whether any of this matters is usually: “Of course, because it affects the sound of our HiFi system.” Manufacturers often make a great fuss about having developed a new feature, and, especially in High End, this usually has very little to do with usability, but everything with how it sounds.
When it comes to the subject of cables, however, we are invited to believe in a magic trick. For some obscure reason, both public and expert opinion has it that two cables made up of different materials in different gauges, and based on completely different design concepts have exactly the same effect on sound and behave the same way across all frequencies. According to this popular view, a speaker cable made up of straight 12 AWG copper clad aluminium (CCA) has the same performance over all frequencies as a twisted 10 AWG cable design made of OFC or OCC tinned copper. The implicit logic being that, although the medium changes, the sound stays the same, because cables are merely transducers with no electronic or sonic relevance on their own. Strangely enough, the holders of this argument do not seem to notice or mind the contradiction involved in running 100% of the music signal through a changed medium, without this signal’s quality being affected by the change. While this might be true for cables that are installed to operate a motor or a lightbulb, audio installations are far more sensitive in terms of signal integrity. The simple presence of current is not enough. Cables affect many aspects of music signals which are made up of a combination of overlapping wave lengths and amplitudes that are all too easily influenced by high frequency infiltration and even sensitive to outside touch. The resulting differences are audible in bass extension, bass nuance and layering, mid-band tonal accuracy, voice and instrument timbre, timing, agility, stage representation, high frequency extension and nuance, coherence, and more generally: musicality. Not surprisingly then, in A/B comparison, I have not heard two cables that have the same influence on sound.
In this context, the Belden 9497 is no exception. Heralded in vintage audiophile communities as an entry-level High End speaker cable that works well with low-power tube devices, for instance, it is easily recognisable by its orange and black coating and its tight twisted-pair design. This lollypop look makes it stand out among its unicoloured competition, even before one has had the pleasure of hearing it perform. The two high-conductivity tinned copper conductors are of relatively small 16 AWG diameter and covered with heavy duty PVC insulation. No outer shielding is used, but—similar to Western Electric and similar manufacturers—Belden have tightly twisted the cable’s conductors to cancel out high frequency (HF) radiation. The downside of this design is that the individual cable becomes longer. However, considering the 9497’s low resistance over 1000 ft of just 4.27Ohms, one meter more or less is likely to have a relatively small impact when compared to the benefit of cancelling out airborne high frequencies from the signal. Conventional shielding, on the other hand, introduces additional mass to the signal path and tends to hamper the agility and thereby the musicality of a cable. Going without shielding altogether is becoming increasingly impossible in times of interfering communication signals such as WiFi, DECT and cellular.
How does it sound? Well, to my ears it sounds great, but it took us a long time to get there. The cable was recommended to me by Luigi, who has devoted his life to finding audiophile gems, especially in the context of vintage audio. This recommendation happened at a time, when I had only been familiar with regular multi-strand speaker cables that were composed of various diameters and ranged from copper-clad aluminium (CCA) to oxygen free copper (OFC). Neither of these cables had been very special in their sound, although I had noticed that changing from 2.5mm to 4mm diameter lead to improvements in bass response. And I had changed speaker cables often enough to understand about run-in times. Because, whenever I had changed cables, I had been disappointed at first, thinking that I had made a wrong purchase. Yet, after a while, I grew accustomed to the new sound, until I was happy again, often happier than before. I had simply thought this was me getting used to the cable, until I began changing back and forth between used cables and realised that they did lead to a different sound, but never to the one that had troubled me when they were fresh out of the box. The cables had matured somehow, but I did not give it much thought, until I connected the Belden 9497.
After hearing the Belden at Luigi’s house, I had decided to purchase a pair for myself. The 9497 are not so common in Germany, and importers usually levy a big mark-up. I therefore found a supplier in Japan and ordered 10 meters for bi-wiring with 2x 2.5m on each side. I also bought 5 meters of Viablue cable sleeve, some shrink tube and silver solder, a better soldering station, and some gold-plated rhodium-copper banana plugs—the hollow version for low-mass connections. By that time, I had already learnt that low-mass was important for maintaining musicality, and that a single point of contact on the amp side produces superior homogeneity. This means, in customising the cables, I used two banana plugs on the side of the amp, joining the poles of the same colour together for the purpose; and I used four banana plugs on the side of each speaker, with separate connections for the high and low frequency drivers. In my experience, this provides greater bass control than simply using cable jumpers or the speaker manufacturer’s standard bridges.
My first sonic impression of the customised cable playing in our main system was anything but pleasant. The music sounded overly tight and tinny, there were no transients to speak of, and mid-bass was as low as it would go. The stage seemed centred and packed, and the music clung to the speakers. What irritated me most was a tonal imbalance in the voices. If I had not heard the cable perform before, and if I had not learnt about cable burn-in, I would have gone back to my OFC copper on that day, or on any day over the next few weeks, actually. Since it was not much fun to listen to, I would turn on our system before going to bed and get up early in the morning to listen for changes. After the first week of playing, voices began to sound more natural and closer to those on our matured system. Some time later, the music started to free itself from the speakers with individual notes lingering for longer. After about a month, bass had become more extended and natural. After about two months, the stage was fully set, with lots of space between instruments, natural voices, as well as full and contoured bass.
I have gone back to the OFC cables on occasion, for example when changing the length or making other changes to the Belden. Whenever I do so, it feels as if I am listening to music through a thick veil. The Belden beats the OFC in all aspects, most obviously in terms of agility, tonal balance, and transparency. For the sake of further explanation I will try other speaker cables, of course. But considering the engagement and joy I get from listening with the Belden, I know to have set a standard that is going to be difficult to beat. Following the considerable improvement in sound, I have since installed this cable on both of our systems. The run-in time was the same on both occasions.
Tested on the following setup: CD player: Marantz CD-17 (on WesternElectric); Preamp: DB Systems DB1 (Haegermann audiolabs Epic 1); Power amp: B&K ST-140 (on Belden 9497); MartinLogan SL3
Author: Karsten Hein
Category: Gear & Review
It was one of those moments in which anything seems possible and time is irritably suspended while we attempt to determine whether our last move was either utterly ridiculous or absolutely brilliant. Are you familiar with such moments? It seems they usually occur when stepping onto new terrain, especially when brushing against the grain of popular belief. Well, who would ever do that?
Guess no further, because, with this page bearing ‘explorations’ in the title, stepping onto new terrain is precisely what we aim to do, and if we can take down established myths in the process, all the better. However, as we shall see, the subject at hand is especially tricky, because the HiViLux Reference Digital Coax Cable, as it is called, has quite a number of firm (and very vocal) convictions to brush against. For one thing, there is the ‘cables-don’t-matter’ corner, which is made up of audio enthusiasts who have personally never made a test between two cables but will not tire of predicting that they would not hear a difference, even if they tried.
Then there is the ‘digital-is-digital’ corner made up of technically-minded people who claim that the reduction to zeros and ones will make signal loss a thing of the past or that it at least cannot have an influence on audio performance. In the third corner are the ‘if-I-don’t-know-it-it-can’t-be-good’ people. They usually deny that they are even sitting in this corner. And, finally, there is the ‘if-it’s-cheap-it-can’t-be-good corner’, made up of high-brow rather than high-end audio gurus who have bought their way out of the reach of ordinary people and have since come to fear anything that might lessen their monetary lead on the rest of us.
Perhaps now you can imagine the forces against me, as I was unpacking the mid-market coax cable from a new manufacturer to replace a digital cable that I already owned (and that appeared to be working just fine), all in the hope of experiencing a revelation. However, I figured the following: If this cable performed as well as the one I already owned, I would have two cables to connect two devices to our DAC, and the money would not be wasted. And if it performed better, even just a little bit better, victory would be mine, as quality in music reproduction often happens in incremental steps but ends up being purely magical in the sum.
At that point I had already read a lot about OCC copper, and somehow, this ‘new’ type of pore-free copper conductor had made a lot of sense to me. As I had learnt, OCC stands for “Ohno Continuous Cast” and bears the name of the inventor of its manufacturing process. A process by which copper wires are not only produced to keep them oxygen free, as is usual in Oxygen Free Copper or OFC, but also grain boundary free, as if the whole strand was made of one continuous copper crystal, reaching a purity of 99.9997%.
With this new awareness, I had searched the web for OCC interconnects from time to time, only to find overpriced or suspiciously cheap offers, nothing that I really trusted to produce quality results. Until I had finally come across HiViLux cables with their Chinese-owned home cinema shop in Germany. Curious about their offers, I had checked the design of the cables. Their Reference Digital Coaxial Cable had struck me as being well-built and realistically priced so that I had dared to make a purchase. It seemed to me that their range of cables was rather to enhance the sales of their other gear, a fact that seemed convincing.
And, there I was, holding my sturdy-looking cable box bearing the HiViLux logo, not yet sure which of the four ‘corner-jocks’ I would fall prey to first. The cable itself was of impressive 1.4cm diameter and the quality of manufacturing appeared to be excellent. Thick as it was, it proved to be more difficult than usual to arrange behind the rack, and the turn-fastening plugs were a little tight when pushing them onto the cinch/RCA sockets. I had to take especially good care not to break anything. I positioned the HiViLux Reference cable between our Denon DCD 1420 CD-player and our Cambridge Magic DAC 100. The cable to be replaced was a four-times shielded coax that had also been designed for quality SPDIF connections. ‘Music playback’ had been listed among the purposes of use. In this combo of CD player and cable, the DAC had already outperformed the internal one of the CD player with sufficient musicality, offering an increase in stage and dynamics.
Hooking up the HiViLux Reference brought about some surprising revelations that changed our understanding of the setup. For one thing, there was a sudden and significant increase in musicality, dynamics, space between the instruments, and the general ability for the system to breathe. The difference was so intense, and the colours of instruments were so real, that I had a hard time believing that this could all be attributed to the cable design. Something else had to have changed along with the cable, and I soon found out what this was: namely, the presence of a second cable on the DAC’s two coaxial SPDIF inputs. Since I had not yet disconnected the original cable and simply used the second input, both inputs were now connected and thereby sealed off. And it seems this is what the Cambridge DAC needed to function properly. For the DAC to perform well, we should have used a 75 Ohms plug to seal off the open input. This means we had never heard the DAC working properly before and had not been aware of what it was truly capable of. One cannot help but wonder how many owners of this DAC are in that same position.
But, just as clearly, the other 50% of the audible improvements could be attributed to the HiViLux coax cable which corrected the sonic colours, especially those of metal instruments and percussions, to put life-like performances into the room as we had never heard before. On 2Cellos’s album “In2ition” the instruments appeared to be much larger than I was used to, and I heard nuances that had simply been missing before. Familiar songs that had long since lost their lustre for me were highly entertaining once again. Jamie Saft’s album “Loneliness Road” seemed more vibrant and now offered a deeper and wider soundstage. Percussion had a timbre to it that I had only heard during live performances until that day. On Boris Blank’s album “Convergence”, individual samples became visible as such, and it was possible to hear right through to the bottom of the recording.
It took several hours for the fresh-out-of-the-box cable to fully come to life. In the very beginning it seemed slightly analytical with an overly tight bottom end. However, this quickly subsided for a full and lush sound that had me coming back for more over the next few days. What took me by surprise was that the increase in punch and musicality was a more pronounced step up than we had felt when moving from the Tannoy 6 to the larger Tannoy 8 speakers. There was simply more of everything, and for the first time I had the impression of listening to a genuine high end system with every component, from CD-drive all the way to the speakers, being able to show that a great system is so much more than the sum of its parts. At its current market price, this cable offers more than the usual performance and will be a good point of reference when deciding on other components.
Note: Not all HiViLux ‘Reference’ cables are at the same quality level as their digital cable. Happy with my first purchase, I tested a pair of cinch/RCA interconnects of the same design which only gave a rather restrained performance. Their golden plugs showed signs of tarnishing from sudden temperature changes during transport (I used baking soda to restore the shine), one cable was actually 1 cm shorter than the other (!), and the ferrite rings had been fitted at random. The latter of which were probably to blame for the restrained sound. I returned the cinch/RCA interconnects after two days of trying them in different positions. Sadly, they underperformed our existing interconnects in all possible positions and combinations.
Author: Karsten Hein
Category: Gear & Review
When I started on my explorations in interconnects, I only had a faint idea of the effects of different materials on cables and plugs. Most of what I knew was based on what I had read from other users, from manufacturers of audio products, and from magazine tests. This left me wondering, how reliable these sources were. Manufacturers and magazines obviously have an interest in promoting certain products, and ‘users’ may be anything from absolute novices to experienced audiophiles. When it comes to discussing the merits of cables, it is useful to speak to an expert, otherwise one will all too often be discussing the flaws of a specific HiFi-setup rather than general cable attributes.
It is no secret that, ever since coming across Holger Becker’s silver solid-core cables, I have been hooked on the sonic abilities of silver. The cable itself is made of a 4N solid-silver strand that is shielded with a pure copper mesh, a combination that has meanwhile proven itself to work rather well. Mr. Becker sells this cable with two different plug terminations: HBS1, utilising a RAMM Audio gold-plated copper plug; and HBS2, with a silver-plated brass plug by WM Audio. The choice of plugs was shown to make a marked difference in cable’s sonic performance over all frequencies, and it was concluded that audiophiles looking for a darker and richer sound might prefer the copper and gold combination, whereas those seeking a more agile and revealing sound would be better served with the brass and silver version.
In the context of our own system setup, I enjoy having both cables available, in order to counterbalance darker or brighter sounding HiFi components. However, considering the merits of silver as a conductor, I could not help but wonder about the choice of plug materials. Gold and brass seemingly worked against optimal connectivity, which a quick check on Wikipedia confirmed:
International Annealed Copper Standard
I decided to write to Holger Becker about my concerns regarding the combination of gold and brass with silver and suggested that he built an interconnect using the silver version of the RAMM Audio plugs. However, he was not too pleased with this idea and rightly pointed out that these were rhodium-plated and would again introduce impurity. He suggested that we should rather use a pure-silver plug made by Keith Louis Eichmann Innovations (KLEI) called ‘KLEI Absolute Harmony’, which uses a special amalgamate of silver with a conductivity rating of >106% on the IACS scale. I liked the idea, and I suggested that we name this new ‘made-for-eiaudio’ interconnect “HBPS” for Pure Silver. He liked the name, and I placed my order.
The Australian couple Keith and Patricia Eichmann made a name for themselves, when they premiered the famous ‘Bullet Plug’ connector to the world. The Bullet Plug was a radical rethinking of the classic cinch connector, which had originally been developed by the Radio Corporation of America some 60 years earlier. The KLEI design improved conductivity, enhanced signal integrity, brought about higher resolution, and improved the mechanical connection. In fact, Eichmann’s patented Bullet Plugs were used with great commercial success by many HighEnd brands. The cable manufacturer WSS used them on their “Gold” and “Platinum” lines, for instance.
The KLEI Absolute Harmony Plug is an enhanced version of the original Bullet Plug design that features improvements in terms of geometry, mass ratios, durability, and metallurgy. It is also the highest contender of the Harmony range, about which KLE states the following: “Compared to a typical gold plated brass connector used in the vast majority of deluxe Phono/RCA plugs, the Harmony RCA plug range, utilising our proprietary alloys, achieve improvements in conductivity exceeding 320%.” — Now, that is quite a statement, indeed, and perhaps explains, why our silver cables generally play louder and with superior dynamics than our copper versions. The manufacturer goes on to describe that lots of care went into minimising turbulences in the electron flow (Eddy Currents) and improvements to capacitive reactance and micro-arcing. And, while all this is theory, of course, with potentially no practical use to us listeners, I enjoyed the concept of now having a single silver-solid core strand running from end to end. Finally, no more material transitions.
When the new cable arrived, I set everything up to allow for a speedy switch between interconnects and decided not to run the first test alone. The signal source was our Rega Planet 2000 and the preamp was our DB Systems DB1. I decided that I would use our HBS2 cable as benchmark. At the time, this had been running in for about one month and had sufficiently matured in sonic balance. While the low-end was not yet fully present, listeners unfamiliar with our system or with silver cable in general would have had nothing to object to. When my wife walked into the room after putting our kids to bed, I asked her if she had a moment to try out a cable with me. Sabina was unaware that I had bought a new cable and did not know about the differences in materials, etc. She did know, however, that most of the cables we were now running were made of silver. Not that I think this made any difference. I played approximately 1 minute of Vocal Jazz on the HBS2 and then played the same passage on the HBPS. — “Holy! This is much better.” — was her immediate response. Having just returned to my seat, I was pretty much thinking the same.
Although Holger Becker had reported to me that he had played the HBPS for 1-2 hours to get an impression in his own system, I think it is still safe to say that this interconnect had the best out-of-the-box performance of the three variations. Compared to the HBS2 it was already fuller in bass, even if slightly less agile sounding. However, there was a whole new dimension of order and detail. The stage was dimensionally more concrete with lots of space between individual sounds in comparison to HBS2. On the all-too-familiar Diana Krall album 'All For You' the recording studio‘s background now was electrically and physically present at all times, for the first time in our listening history. From tiny shifts on the piano stool, the tapping of a foot, clicks, pops, and static from cables and the microphone, it was all there, even when played at relatively low volume.
The HBPS custom made for eiaudio is both the most elaborate and lightest interconnect in our range of cables, simply because the Eichmann Absolute Harmony Plugs are of extremely low mass. From its touch and feel alone, it would be difficult to guess the sonic or material value of this interconnect. Only those familiar with the industry will understand that this is a special cable in many ways. But listening to it is an exceptional experience. The interconnect is highly revealing and made for those who enjoy listening very deeply into a recording. For casual listening, this might be a little too much at times, and I do know even experienced listeners who will shy away from such a detailed experience, simply because they find this to be unrealistic. It therefore makes sense to have a choice of cables at hand and to change between them from time to time. But, is the HBPS hands down the best interconnect we currently have? Yes. It certainly is.
Author: Karsten Hein
Category: Gear & Review
Of course, I remember fully well that in my presentation of the HBS4 I had written that this would be my last silver solid core cable presentation. But sometimes predictions are made, and then life happens and makes it seem absurd to stick by them. Shortly after writing my review of the HBS4, Holger Becker contacted me to report that he had been working on a new cable design which he was currently testing on his own system and would send to me for auditioning thereafter. How could I resist the temptation of listening to it or writing about it once the listening was done?
Mr Becker’s latest design was a quasi-balanced cinch/RCA concept consisting of the same type of 4N silver solid core wires that I had thoroughly tested and written reviews on before. The term quasi-balanced refers to the use of two identical wires for the hot and the ground connector respectively. This means that the same gauge and materials of wire are used to transport current from the source to the preamplifier and back. For improved noise cancellation, the hot and the ground wire are usually twisted together to form what is called a ‘twisted pair’. An external shield is then wrapped around the twisted pair to block out external interference. In case of Mr Becker’s cables, this shield is made of a high-purity copper mesh that is connected to the ground prong on one side of the cable only.
There are many terms describing such quasi-balanced cinch/RCA designs. The most prominent variations are pseudo-balanced, pseudo-symmetrical, and quasi-symmetrical. I prefer the term quasi-balanced myself, as pseudo is often used to mean ‘fake’ and therefore has a negative connotation; and non-symmetry often refers to a difference in length, which is not the case on a quasi-balanced cable. The balance rather stems from its non-coaxial layout. On a standard coaxial design, the hot wire is usually positioned at the centre of the cable with the larger mesh shield serving both as signal return path and as absorber of electro-magnetic interference. With interference travelling along the signal return path, the negative effect on music is often audible in terms of a loss in dynamics or the augmentation of the upper frequency spectrum.
Quasi-balanced cables help to eliminate some effects of interference on music signals while inviting others. They are directional in the sense that their shielding needs to be attached on the side of a well-grounded device, such as a preamplifier or an amplifier for it to be effective. Their specific layout lends itself for use with turntables, because phono cartridges are in themselves symmetrical. When it comes to usability and handling, the additional inner wire makes the finished cable thicker and slightly less flexible, qualities that I rather enjoy on a solid core interconnect, as these cables tend to look and feel rather insignificant and flimsy. Very few people would be able to guess the sonic abilities of the HBS 1-4 from their looks alone. This is pleasantly different in the case of the new quasi-balanced design.
As I was testing a prototype rather than the finished product, the cable did not yet have a name. I therefore christened it HBS-QS1 (short for Holger Becker Silver Solid Core - Quasi Symmetrical), fully aware that this might just be a working title. And I began my explorations by connecting the interconnect between our Sansui SR-525 turntable and DB Systems DB1 preamplifier. This had been the only position on either of or systems in which I had not yet been successful in getting the HBS solid core cables to work. Somehow, our DB systems preamplifier expected higher capacitance than the cable and cartridge combinations were able to provide. I ended up returning to our trusted FastAudio Black Science cable, which worked very well in this position but did not have the full depth, tonal accuracy, and authority of our silver interconnects.
The cartridge mounted was our Audio-Technica VM95 ML with Micro-linear stylus. The VM95 ML is a great tracker that reaches deep into the record groove to retrieve lots of musical detail. On the downside, it offers the slightest bit of a silky overtone on voices, pointing to the fact that it is still a budget engine, even if the stylus is quite sophisticated. Moving from the FastAudio to the HBS-QS1, I noticed the leaner factual sound of the solid core wires. As the FastAudio had already been commendable, I was not immediately certain, if I preferred the music following the change.
Listening for longer, the HBS-QS1’s timbre began to shine though. I love the cleaned up sound of solid core cables and much prefer this to multi-stand designs, and I have become a sucker for the authority and bass extension of silver. I was surprised how well the Fast Audio had been able to keep up in this position, because I normally would have expected the silver cable to blow the BlackScience out of the water. Yet, this did not happen. The change was rather subtle, one of nuance and not a major game-changer.
The HBS-QS1 appeared cleaner, leaner, and there was slightly greater silence in the absence of music. The FastAudio on the other hand presented slightly more detail and seemed to dig deeper into recordings. I was perfectly fine either way. For me the good news was that, finally, I had the option to run my turntable via the same great silver cables that had struck me as irreplaceable in all other positions. Happy with my findings, I decided to test the HBS-QS1 on our Shure cartridge which I keep mounted on a separate head shell. This has just been fitted with a new oval diamond needle and is in generally good shape. I love the bass output and high volume of the Shure. However, the relatively cheap N75-6CS spherical diamond stylus cannot compete with that of our Audio-Technica, especially in terms of tracking and musical detail. The HBS-QS1 performed with the same authority in this combination.
Finally, I can easily agree with Mr Becker that the quasi-balanced HBS-QS1 is a great companion to connect turntables to preamplifiers or amplifiers that benefit from higher capacitance cables but do not want to miss the musical advantages of solid core silver cables. I guess, the alternative would be to increase the diameter of the solid core wire itself. For future explorations, I would also like to see a construction in which the shield is placed further away from the twisted pair, but let’s not get ahead of ourselves. Such explorations in audio can wait for another day.
Author: Karsten Hein
Category: Gear & Review
When I was younger and still drinking beer, I was attracted to Pils rather than export or wheat beer, because I was fascinated with the concept of having to wait seven minutes for it, while its foam was settling in the glass. Seven minutes seemed a long time to a young man‘s heart, and the reward was a smooth refreshing drink that appeared to entail a certain maturity, which it also bestowed on the juvenile drinker.
As I grew older, I started to prefer wine over beer. And, in terms of wine, I had a preference for mature reds with a dark and fruity nose. Irish and Scotch whiskys as well have at times captured my imagination. One such highlight in whisky was the discovery of an old Haig whisky from the 1950s that still tasted smooth and fulfilling after over sixty years. Amazing!
It is no secret that some things get better as they get older, while others fade away quickly. And the difference between the two will not reveal itself to the hasty consumer. Long-term quality is more than a coincidence. It is much rather a secret bond between mature customers on the one side and experienced craftsmanship on the other. In other words, a sacred pact between the steady hand and the steady mind that will not be side-tracked by trifles.
Where quality does prevail, both customer and vendor follow the basic idea that perfection has its price. Sadly, the relationship between quality and price is all too often inverted, and customers are sad to find that their expensive products break soon after purchase. We can therefore safely concur that paying a high price does not necessarily entail quality. Customers looking for a safe purchase are therefore best advised to trust in a well-established relationship or purchase from a well-known brand.
The trouble with well-known brands in recent years has been that they, too, are driven by shareholders with minimal interest in the company’s products. All their focus, so it seems, is on the short-term and mostly in themselves. This creates a scenario in which established brands with a name to lose are forced to save on materials and labour and to sell their products at the highest possible price. Increasingly, therefore, paying a higher price does not entail sufficient quality anymore. It will be interesting to see which brands can manage to survive, once the relationship of trust with their customers has been broken.
Ultimately, this leads to the question of who to trust when exploring unfamiliar territory. Solid Core Silver cables are an exotic breed, usually reserved for High End audio enthusiasts with lots of money to spend. Buying such cables from an established manufacturer can easily set you back a few hundred euros, although the basic materials are not actually that expensive. If they were, people would not be able to afford silver cutlery, etc. Manufacturers of silver cables might be rare, and this might drive up prices, perhaps, but even bulk cables can be found at relatively affordable prices. Sadly though, terminated solid core cables are mostly expensive due to brand image, patents, and a whole lot of marketing.
From the beginning of this exploration, it was therefore clear to me that I would not be able to afford any brand interconnect of this type. Even used, these cables were out of my reach. And since I did not have a well-established relationship with a specialist yet, I had to find a source willing to partner with me at the monetary level that I was at in that moment. Among the many used cables on offer, I spotted a vendor by the name of Holger Becker, a man who has found a liking to simple but effective silver interconnects and enjoys building them for himself and others.
The HBS1 is Holger Becker’s number one silver cable. It bears the initials of his name, followed by the letter for silver and the figure one for his highest quality product. Holger especially intended the interconnect to work well with critical turntable cartridges. Measured with the plugs in place, the product features a total resistance of just 56pF. The cable consists of a silver solid core conductor that is shielded by a copper mesh. It is terminated with gold-plated pure copper RCA/cinch plugs made by RAMM Audio that screw firmly into place. The cable is relatively thin and surprisingly flexible, has no rigidity of its own and needs to be suspended freely behind the rack.
Silver is a completely different beast from copper, of course. And although I have experience in running in cables, and have read that silver solid-core conductors have a run-in time of approximately 2 months, I must say that the first three weeks made me doubt that this interconnect was ever going to sound good, not even to speak of great. When the cable arrived, I did not recognise anything in its performance that reminded me of the cherished joys of listening.
The HBS1 produced mostly mids with disappointing and overly tight bass. The music clung to the speakers, and there were hardly any transients to speak of. Individual notes appeared to be cut short, leaving sad blotches of emptiness in the soundstage. If it had been real musicians playing and not the speakers, they would have packed up and left our listening room, appalled at what was coming out of their instruments. And I must confess, it is only due to my experience with our Belden 9497 speaker cables that I had an ounce of hope left that allowed me to endure. To help me through it, I marked the dates in my calendar: ‘HBS1 one month old’ and ‘HBS1 two month old (Review?)’.
I decided that I would give this cable time to fully mature, just like a good wine or whisky, before attempting to write a review on it. And, thankfully, I had meanwhile become seasoned enough myself, not to jump to hasty conclusions. Mr. Becker himself was hesitant when I asked him about sound quality and run-in time and suggested that this was a personal matter he would rather not comment on. I must confess that I was a little disappointed, because I could have used some reassurance in my time of expectation.
From week to week there was less that troubled me about the cable. I hooked it up in various positions that would allow more current to flow than our turntable is capable of producing and found that it sounded great on all sources. For some reason, however, I could not get it to perform well between preamp and power amp. Perhaps it had to do with the need for higher resistance on one of the devices? This aside, I am now 6 weeks into my exploration and can safely say that this interconnect is doing a fabulous job on our Sansui SR-525 turntable. I have never heard such an effortless growling bass coming from a turntable while enjoying stellar transients in the treble and a wonderfully warm midrange.
In fact, my brother came over just the other day, and we ended up having an extended listening session together. My original intention had been to show him a Rega Planet CD player that I had recently bought from an audio enthusiast in Remscheid, near Wuppertal, but instead we kept retuning to the Sansui SR-525 turntable with the HBS1 interconnect, marvelling at how positively engaging, expressive, and powerful it sounded. Manu Katché’s “Neighbourhood” had all the drive and energy one could ask for. The vintage Shure M75-6S is a highly musical cartridge with high output and excellent bass slam that wants to entertain, paired with the HBS1, these positive characteristics are a real joy.
Silver cables take their time to mature, because the base material is very hard and fractures easily. Such micro fractures take a long time to heal. Moving the cable around will cause new fractures resulting in renewed run-in times. Silver cables only make sense in applications where they are left to rest in position over longer periods of time. Similar to a good wine and whiskey, they do not appeal to the entry-level consumer. As a result of their excellent conductivity, they have the potential to reveal nasty flaws in a HiFi system that go unnoticed with regular copper conductors. But for mature listeners who understand about setting up flawless systems, this type of cable will help to bring improved agility and realism to the system. Effortless, expansive, subtle, and merciless are only some of the adjectives that come to mind.
Note: I could not help but wonder about the material transitions from the silver solid-core cable construction to the pure copper gold-plated plugs. RAMM audio also makes silver-plated plugs, but on his HBS2 interconnects Holger Becker uses lower-priced silver-plated WM-Audio plugs instead that have a brass core, a decision that again introduces a third material into the equation. I shall have to give the HBS2 a listen to find out, if the choice of materials makes a discernible difference in this case.
Author: Karsten Hein
Category: Gear & Review
Those who have followed my recent posts on HiFi cables will know that I have developed an affection towards the use of silver in the signal path. This has turned out to be especially true for 4N solid core silver cables, ever since I came across Holger Becker‘s HBS1 interconnect. Although still quite affordable, the HBS1 is terminated with gold-plated copper plugs from the American manufacturer RAMM Audio that contribute to this cable being the most expensive of his current range. What had surprised me about the HBS1 was that it introduced seemingly unnecessary material transitions: gold+copper to silver+copper and—at the other end—the same transitions in reverse.
When I voiced my concerns about this mix, Mr Becker suggested that the use of gold was of lesser concern, because the RCA/cinch sockets found on quality devices are mostly gold-plated themselves to avoid oxidation. In this scenario, the gold-plating of the cable plugs matches that of the device’s sockets to form a corrosion free coupling. The alternative would have been to use silver-plating or, even better, solid silver, which would be in line with the material of the cables.
When it comes to pure silver, there are concerns about oxidation, of course. And while such concerns have some validity in tropical climates, the realm of vintage audio is special, in the sense that the original sockets of vintage devices are rarely of the gold-plated type. In a vintage environment gold is often just an additional metal in the signal chain. In fact, the very idea that gold-plating should be the premium metal of choice was sold to the general public much later. The fact that gold is better than polished metal was easy to sell, simply because gold is precious and therefore must be good.
While the HBS2 is based on the same solid core silver cable, it is terminated with WM Audio’s silver-plated brass plugs instead of gold+copper. Brass has its place in the context of plugs, sockets, and other audio applications, however, I was disappointed that these plugs again bring a third metal into the equation: 1. Silver, 2. copper, and 3. brass. In principle, the WM-Audio plugs are well made, with a meticulously crafted ring of outer contacts and a two-fold split centre prong that is oval-shaped to increase the inner contact pressure. The construction makes an excellent fit, even if it has a tendency of being a little tight when trying to remove the plugs at a later stage. Brass—by the way—has a conductivity of less than 40% compared with pure copper. In my understanding, this indicates that most of the signal travels through the silver plating.
Fresh out of the box, the HBS2 surprised me by showing an accomplished top-end. The highs were not yet perfectly softened, transients not extended enough. However, just getting to this stage of performance had taken a few weeks on the HBS1. I even wrote to Holger Becker, asking if this cable had already seen some running-in before it was sent out to us. He denied this, saying that he had built it afresh for me and had put it in the mail straight away. Since both the HBS1 and HBS2 had arrived here in the same basic condition, I suspect that the improved out-of-the-box performance of the HSB2 was due to the substitution of gold-plating for silver. If true, it would mean that the initial lack of upper frequencies during break-in on the HSB1 had been due to material transitions rather than micro fractures. The result being that the HBS2 makes the running-in period faster and more pleasant.
Similar to the HSB1 during the initial stages of warming up, the HBS2 started with a solid mid-band and a slight emphasis of the upper vocal section. This upwards shift can possibly be attributed to the still obvious lack of deep bass during the break-in-phase.
If solid core silver cables have a musical signature of their own, this would have to be the no-frills assertive manner in which they bring forth the music. Right from the first few seconds of playback, it was clear to me that this cable holds the reigns tight and drives the ensemble forward. I had never heard such clenched determination from a multi-strand. The HBS2 thrusts piano notes forward with might and bone-chilling timbre, which made it difficult not to look up from writing this text to smile with content. With their 2 Volts of line output, digital sources (CD player, streamer, etc.) are useful companions for running in interconnects, as they offer just enough energy to speed up the process. And our Rega Planet 2000 staged a soulful performance with Naim Audio’s 2009 “Phantom Limb” CD. The recording itself is on the compressed and bright side on any of our CD players, but voices and instrumentation are ferocious and loud, and that is just what was needed to chase the Caveman out of Bristol.
After a few days of playing, bass became layered and more extended. This helped female voices to find their natural timbre. Piano sounds were still astounding, but they were no longer as piercing as they had been at the beginning. When it comes to burn-in characteristics, the lower frequencies took their time to develop, similar to my experience with the gold-plated HBS1. I love the no-frills sound of both these interconnects. If there is an audible difference between the two cables, it is that the HBS1 sounds more extended in the bass, plays slightly fuller, darker, and softer. The HBS2, on the other hand, seems more agile and responsive. It makes the music seem closer, more tangible, three-dimensional, and highly engaging. Which is better? Well, in a double-blind test between the cables, my wife Sabina suggested that the HBS1 had the feel of a dark and vaulted Jazz club, whereas the HBS2 was more similar to an open concert stage. I could not find a more fitting description.
At this point, some of the perceived difference between the cables might still be caused by the two months lead of the HBS1 in terms of running-in time. However, I doubt that the basic difference in character will dissolve completely. To be absolutely sure, I will need to compare these two interconnects again in a few months time. If my impression should then change, I will gladly revise my findings.
Author: Karsten Hein
Category: Gear & Review
The HBS4 is the final contender in our range of solid core silver cables. These interconnects are all based on the same base cable, using a 4N solid core silver conductor that is surrounded by a high-purity copper mesh shielding, a circumstance that leaves the audible differences between the range of interconnects to the choice of plug termination. And, since this is the point where most readers will grunt in disbelief and turn on their heels, all we can do is ask those skeptics to leave quietly and begin our next paragraph without them.
To those who are still reading, it will be important to know that material transitions, differences of mass ratios in the signal path, and the general layout of the plugs have a marked influence on how electricity travels through them, thus creating a signature that is specific to this cable and plug combination. If you have set your HiFi system up well, i.e. in keeping with some of the items listed in the High Fidelity section of this blog, your system should be able to highlight the difference between cables to you in a swift A-B comparison.
The HSB4 was added to the list at a later stage and therefore has a higher number, although it probably deserves a greater priority than this. The plugs are manufactured by Elecaudio on a tellurium-copper basis and have been silver plated. Since the cable itself is made of silver and copper, these plugs make good sense in combination with the cable in terms of minimising material transitions. On my vintage equipment, the Elecaudio plugs are a little too tight and need to be pressed on quite firmly, even if the outer barrel is turned back. Later, in taking them off, I even needed to use a knife edge as lever. Other than these minor mechanical issues, I have no complaints about this interconnect.
Running mostly non-gold-plated vintage equipment, I love the fact that the plugs are silver rather than gold-plated. This has the advantage of reducing material transitions. And, while the HSB4 has all the sonic merits of a silver solid core cable: crystal clear treble, superb transients, a sweet and compelling midrange, musical authority, and thunderously deep bass when needed, it does not emphasise a particular spectrum, as some of the other contenders in this range do. Depending on the setup of your system this may or may not be an advantage, but it is definitely good to know.
Your own choice of cable will most likely depend on the requirements of your current setup and your budget. The HBPS, for instance, costs more than twice as much as the HBS2, but if your system has the potential for it, and if you enjoy being entertained, the KLEI Absolute Harmony plugs make the HBPS engaging on a level that the other configurations simply cannot reach. For less revealing systems, the HBS2 can bring that extra momentum into the music, perhaps at the cost of lessening some of the lower end of the spectrum.
The HBS1 on the other hand will serve well in places where your music sounded a little thin and where a slight dampening of the treble is to be desired. All considered, the HBS4 is perhaps the most neutral of the range. It plays all frequencies well and provides sufficient detail in the music, however, it does not reach so deeply into each recording. In direct comparison with the HBPS you would notice the difference and perhaps feel that you are missing something, but in longer listening sessions, the HBS4 might just be more pleasant to listen to, because too much detail can be exhausting.
In our own setup, we are running the HBS4 between our preamplifier and power amplifier with very positive results. On the same system, we are running a HBPS from the CD player to the pre-amp. This is an amazing combination in many ways and has since made many a listener wonder in disbelief. When paired with a turntable, the low capacitance of all cables can serve as a low-pass filter. This can be fixed with an additional capacitor but is something to keep in mind and, at this time, the reason for us running a higher capacitance FastAudio Black Science cable from the turntable to our preamplifier, instead of introducing yet another low capacitance silver cable.
Author: Karsten Hein
Category: Gear & Review
“Are you nosy?” My grandfather asked me, seeing that I had gotten up to look outside the window to see which car’s engine sounded so full-bodied in the passing. “No,” was my reply, as I was sitting back down. But I knew it was a lie. Back in the day of former German soldiers turned factory workers, being nosy was considered a nuisance which had to be tamed, a speck of childishness on the way to being a man. And I felt guilty, of course, because I knew I was nosy way beyond my own control.
In today’s world, a playing field of competing ideas rather than battle and obedience, nosiness is considered an asset rather than a burden. What is desired changes over time, and I am fortunate enough to have been born at a time when the doors were beginning to open, and explorations of the individual were again possible. After all, what character trait other than unruly nosiness would make me search for a cable to top the Kimber Tonik, especially at a time that I was very happy with how my system sounded. I am actually listening to the Tonik as I am writing these lines and can only marvel at its ability of getting the harmonics right. However, it is high time to change to the test candidate.
Similar to the Tonik, the Timbre’s design features Kimber’s tri-braid field geometry and VariStrand technology. However, all features are slightly more elaborate. The braided cables comprise individual strands of seven different gauges, not just four. And, although Kimber does not directly specify, their “hyper-pure” copper is most likely OCC rather than “ultra-pure” OFC. The Timbre’s dielectric is made of low loss fluorocarbon, and the terminations are fitted in a nitrogen assisted hand soldering process. Instead of the more basic Ultratike plugs, the Timbre is fitted with the more sophisticated Ultraplate RCA-type connectors that are precision-machined from a solid piece of metal and feature a split centre prong for improved contact.
Changing from Tonik to Timbre, some haptic differences become apparent. The Timbre feels thinner, smoother, and is generally less stubborn to manage behind the rack. The Ultraplate plugs may be better engineered, however, they are also harder and less flexible. This makes them a little too tight to be slid all the way onto our Restek V1 preamplifier with its slightly oversized sockets from the 1980s. If the Tonik resembled household installation wires, the Timbre feels more like holding jewellery in one's hands. When it comes to sound, the Timbre also sets itself apart from the Tonik, which can be seen as beneficial, but can also be a hindrance in other scenarios. It all depends how we have set up the rest of our system.
Where the Tonik’s strength lies in maintaining tonal balance, the Timbre is far more informative. Diana Krall’s voice gets a greater sense of huskiness and realism holding more of the original timbre of her voice. The same can be said about the instruments. On “I Have Changed My Address” the cymbals simmer much longer, and the sound of metal is more realistic than on the Tonik. While the simmering is mostly about a greater width in treble, there are dark undertones that the Timbre layers in ever so subtly, while they go unnoticed with the Tonik. The next song on Diana’s album is “Love Me Like a Man” picks up the pace, and the long simmering of the cymbals slightly overlaps with the music that follows. This leads to a bit of congestion in the treble and thereby draws the listener’s attention to it, making it seem slightly off balance, which it is not. Treble congestion is something I have not experienced on the Tonik, and, depending on the rest of your setup, can become a reason for listening fatigue.*
The Timbre sets a wonderful stage which is at once wide and deep. There is ample space between the instruments and individual notes are often flung deeply into the room or beyond the left or right of the speaker position. Diana Krall who is usually the only singer on her albums and mostly positioned centre stage, appears lifelike and three-dimensional in front of me with the instruments arranged around her. Musical instruments are clearly discernible in their individual character—or timbre—and given their own space to perform. The Timbre’s ability as a performer and entertainer makes it an interesting contender in the step above entry-level range. Its revealing nature will surely raise the bar for your existing components and go a long way in helping you to optimise your system. On our smaller system—which I mostly use for nighttime listening—I might change back to the Tonik at some point, which is far less exciting to listen to. But will I be able to do it without feeling that I am missing something? It will be difficult for sure because I still am way too nosy.
Tested on the following setup: CD player: Denon DCD 1420 (on Digital Coax HiVilux Reference); DAC: Cambridge DacMagic 100 (on Kimber Kable Timbre); Preamp: Restek V1 (on Wireworld Luna 7); Power amp: Hafler XL-280; and Tannoy XT8F (bi-wired, on Belden 9497)
Cable lengths: 100cm
DC loop resistance: 0.057 Ohm/m
Parallel capacity: 62.1 Pikofarad/m
Serial Inductance: 0,493 Microhenry/m
Characteristic impedance: N.N.
Handling: directional, smooth flexible
Termination: rhodium plated, Teflon insulator
Position tested: CD player + DAC to preamplifier
* Note: 4 Apr 2021 — I have meanwhile found out that the treble congestion described above was caused by one Timbre strand touching another audio cable behind the rack. When suspended freely, the cable stays well ordered, also in faster passages. Cables without mesh shielding appear to be even more sensitive to physical contact than their shielded counterparts.
Author: Karsten Hein
Category: Gear & Review
Kimber’s entry-level interconnect was also my entry ticket to audiophile listening pleasures. With the market for stereo products in decline and a growing demand for home cinema installations in need of much longer cable runs, manufacturers of high-class audio cables had to come up with more affordable solutions to stay in business. Kimber’s Tonik interconnect was especially designed with a slippery and durable outer skin that would make it easy for it to be pulled through holes and installed in walls. While other Kimber cables use wires that consist of strands of seven different gauges, this number was reduced to just four gauges on the Tonik to bring down cost. Other concessions were made in the choice of plugs, e.g. the Tonik’s Ultratike cinch/RCA connector does not have the split centre prong that we typically find on more pricy Kimber products, such as the Timbre or PBJ.
I was attracted to the Tonik by its braided design and affordable price. According to the excellent customer reviews that existed at the time, it offered an exceptional performance for an entry-level interconnect. The novice that I was to the subject of cables, I was absolutely blown away by the immediate improvement in sound, especially in direct comparison with the conventionally shielded cables that I had been familiar with, such as entry-level Sommer or Fadel Art interconnects. I have since been informed that the name Tonik refers to the base tone of a musical scale. But to me it sounded more like ‘Gin and Tonic’, rich in flavour and full of sparkly, bubbly joy.
In true Kimber fashion, the Tonik plays fast, highly dynamic, and informative. Although it is capable of presenting lots of musical detail, it still retains coherence and tonal balance, more so than its in-house competition. The Ultratike’s rhodium-plated contacts seem to help a great deal in supporting the Tonik’s inner momentum. The wires themselves are of ultra-pure copper. Kimber does not specify if OFC or OCC, and it is probably not important, because the cables’ magic trick much rather rests in its tri-braid field geometry, and its construction of wires of various thickness—or VariStrand—as they call it. The PE dielectric is less flexible than that of Kimber’s Timbre or PBJ cables, which makes it a bit more stubborn to handle behind a HiFi rack. Its braided construction serves well to shield it from external interference. Connected to a DAC, CD player or streamer, it is nearly impossible to get it to hum.
Kimber’s braiding technique has a long history. In the 1970s, Ray Kimber was working for a company that installed light and sound gear in some of the first discos. Noticing how long runs of light and sound cables rolled out side by side negatively affected the sound by injecting interference, he found that twisting and braiding these cables together in a specific way would not only protect them from interference but even enhance the sound. Based on this discovery, he founded Kimber Kable, a manufacturer specialising in using braiding techniques. At the time of writing this article, the Utah based Kimber Kable company has 12 employees and supplies audiophile interconnects and speaker cables to music lovers around the globe.
Kimber’s Tonik allows music to flow freely, with zest and harmonic richness. Piano notes and voices sound full and instantly endearing. It sets the stage well, but in comparison with the Timbre lacks some width and depth. The tonal presentation is accurate, however—again in direct comparison with the Timbre—the top-end is not quite as open, and individual notes do not simmer for as long. On Diana Krall’s “Black Crow”, the Tonik presents the music accurately with solid foundation, but the Timbre places the cymbals further away from the speakers and much deeper into the room. The same is true for bass extension. While the Tonik plays a full and compact bass, the Timbre’s bass is lighter, nimbler, and capable of more nuance. With these characteristics in mind, the Tonik is most likely a better companion for Rock, Pop, Hip-hop, etc., whereas Jazz and Classical music lovers would probably be well advised to spend a little bit extra for the next higher level. In the end, it is a question of taste, budget, and how well it blends in with the other components, of course. The Tonik is a superb entry-level cable that allows us to experience sophisticated Kimber sound, or at least 90 percent of it, without having to break the bank. If you do not have any prior experience with braided cables, the Tonik is definitely a good starting point. And—having listened to it again today—I am certainly keeping mine.
Tested on the following setup: CD player: Denon DCD 1420 (on Digital Coax HiVilux Reference); DAC: Cambridge DacMagic 100 (on Kimber Kable Tonik); Preamp: Restek V1 (on Wireworld Luna 7); Power amp: Hafler XL-280; and Tannoy XT8F (bi-wired, on Belden 9497)
Author: Karsten Hein
Category: Gear & Review
Probably the cheapest way of upgrading your existing power cords is through use of the now famous Lapp Ölflex Classic cable for industrial usage. Its specially shielded design provides a good foundation for power integrity, and the inner diameter of 3 times 2.5 millimeters should be more than sufficient for most HiFi applications, even if you are running a very powerful amplifier. This is not to say that it will not be an asset to our far less power hungry components as well.
The hand confectioned cable shown above is based on Lapp’s affordable Ölflex CY 110 power cord and was fitted with a pretty looking Viablue sleeve to lessen the glossy effect of the visible shielding. The plugs are of the high quality made-for-audio kind and were manufactured in Japan. Viablue shrink tube was used to hold the sleeves in position and a ferrite IMF shield of the same brand was added for extra protection.
I was a little disappointed with Viablue’s approach to the ferrite clamp, for two reasons: first, it is a slide-on design which is difficult to place over a just-fit cable. Second, it consists of a thin inner ferrite liner as well as an outer aluminum tube. While the outer tube may look impressive, all the work is done by the inner ferrite core which appears to be rather thin. I have not yet compared this cable with one that is fitted with a proper Würth Elektronik 74271151, 15mm ferrite ring, but I would not be surprised if it cannot compete. If I were to choose again, I would probably go with the more expensive Würth.
Author: Karsten Hein
Category: Gear & Review
When it comes to historic cables, few names cary the weight or spark the imagination as Western Electric. The company has borne its all-American name since 1872, and, in close proximity of the AT&T golden years, grew to become a giant among giants. From the early federal telegraph network all the way to modern telecommunications, Western Electric has developed cables and electronics for every imaginable purpose. The company founder, Elisha Gray, was even credited with inventing the telephone, simultaneously with Alexander Graham Bell, until losing a court battle against Bell in 1879.
Signal processing and signal transport were among Western Electric's main concerns, and experiments were conducted using different types of wires, construction methods, and dialectics. Depending on their designated position and application, cables needed to be flexible, durable, temperature resistant, resistant to moisture, substances, etc. Sometimes to connect devices over huge distances and sometimes in the tiniest of spaces. At times to be installed in fixed position for eternity, and at times to be constantly moved around. Cable design needs to take many aspects into consideration and is mostly a compromise, considering location, usage and cost.
When it comes to audio cables that are to be arranged behind a home-based HiFi rack, this somewhat limits the need for wear and tear resistance, however, it does pose a challenge in terms of signal homogeneity over a wide frequency spectrum, an optimal ratio of resistance and capacitance, etc. While there is no doubt that many cables will do the trick of making a basic connection by allowing current to flow, this does not mean that they will do so equally well, from a timing and amplitude aspect over all frequencies.
The historic Western Electric cable featured here is made up of two solid strands of high quality copper. Each copper strand is wrapped in silk cloth and the strands are twisted against each other to form a single cable per channel. Silk has some advantages over many other covers in the sense that it does not effect the tonal balance of music signals that are sent through it. Due to its twisted pair construction, outside interference is sufficiently reduced so that no additional foil or mesh is needed in protection. Conventional shielding has a negative effect on agility and dynamics, and better types of shielding often come at a higher price.
This particular Western Electric was built by using XLO Electric XLO HT PRO RCA plugs. While the quality is not bad, there was a time when they could be found cheaply online. The plugs are 24K gold plated and of light weight. The overall result is very pleasing in many ways. When used in primary position between CD player and amp, there is no comparison with a conventional shielded multi-core design. The Western Electric simply plays in a different league. And even in the braided or twisted pair category, the silk cable can hold its own.
Having run the Western Electric Silk between our Marantz CD-17 and DB1 preamplifier for close to a year, I am well-accustomed to its abilities, and finding an upgrade to it proved to be a challenge, indeed. The Western Electric produces a true-to-life natural sound that had me hooked from the first moment I heard it. Like most solid core wires it is direct and forward sounding, but, despite this, it almost never came across as aggressive. It offers great speed and clarity with slight vocal emphasis. Due to the amount of musical detail, I found it most realistic to listen at moderate volumes. The Western Electric is a great companion for tube amps.
I have read some place that the Western Electric does not provide its own signature. From my own comparisons between cables I am not sure I can agree. Without criticising its performance, which is phenomenal, I found the following characteristics to shine through: There is a slight and pleasant high frequency roll-off which becomes obvious when listening to cymbals for instance. On the positive side, this contributes to a more amiable sound. And voices are slightly pronounced. Bass notes are portrayed accurately, however, deep bass is not this cables particular strength. As such, the Western Electric is great for listening to natural and acoustic music at realistic volumes. Jazz, Blues, Folk, Classic all work great. If you purchase NOS, make sure to allow for 80-100 hours of break-in time. If you know and have some experience with this cable and would like to share this, please leave a comment below.
Author: Karsten Hein
Category: Gear & Review
Wireworld’s Luna 7 is a real lightweight among the entry level audiophile interconnects. However, despite its flimsy feel, it does pack some punch. It features Wireworld’s patented DNA Dual Helix design, which internally consists of two veins of flat cable with two separate and equally spread out strands of 20 OFC copper wires in each. The silver clad aluminium plugs feature low mass gold plated contacts and a hollowed gold-plated centre prong. The two channels are physically joined together in the centre with the outer plastic skin, as is more prominently found on speaker wires. As this goes against all my advice given on this website, I was tempted to pry them apart to improve channel separation, but ultimately decided against it to preserve resale value. Although moderate in price, such a re-design of my own making would be difficult to explain to a future buyer.
I had originally bought this cable to play between our Denon CD player and preamplifier. In this position it only gave a mediocre performance and was soon replaced with more expensive braided interconnects by Kimber. Between CD player and preamplifier, the Luna 7 had sounded rather soft, producing a pleasant but unrealistic halo around the highs and lacking bass attack as well as bass control. Because of its delicate touch and feel, it had simply not occurred to me to test it in any other position. At the time, I had assumed that this was how it sounded and had placed it in my cable box with some disappointment.
Looking at the subject of cables again for the eiaudio.de website, I came across the Luna 7 again. And although two years had passed since I had last heard it, I was surprised that I still had the sonic memory of it. My first impulse was to sell it without trying it again or discussing it here, but then I called my friend and co-audiophile Luigi to discuss some ideas on cable position with him. We both agreed that there were few general rules on how a cable will perform in a given position and that, except for a few exceptions perhaps, to be absolutely sure, each cable should be tested in as many positions as possible to reach a full understanding of its abilities in combination with the given equipment.
Before re-connecting the Luna 7, I had been running a pair of Georg Neumann interconnects with HiCon plugs between preamplifier and power amp on our Restek-Hafler-Tannoy system. The Neumann cables are fast and punchy with a slight edge to them in the highs. They add a bit of drama, which I generally like. I replaced the Neumanns with the Wireworld Luna 7 and was surprised that the halo I remembered did not shine through this time. The Luna 7 still produced a softer sound, but in this new position, the change was not at all unpleasant nor was it unrealistic. While there was sufficient timbre on piano notes, there was also a new delicacy to cymbals. I had read somewhere that the Luna 7 produced a boomy bass, a phenomenon that I was unable to confirm in either position. Bass was not particularly nuanced, this was true. However, it blended in well with the overall picture.
Voices were perhaps a bit on the light side and appeared to be slightly set back, but they were never unpleasant. Kari Bremnes’ song “A Lover in Berlin” is a good case in point, as the voice can all to easily sound too piercing. This was no longer the case with the Luna 7. Other aspects of the music moved forward and reached further into the room than had been the case with the Neumann interconnects. The Luna 7 would have served well to enhance electronic music, as effects were slightly more pronounced. The soundstage could have been more clearly set and perhaps also more assertive perhaps. The Neumanns had produced a lifelike stage with lots of separation between the instruments. This was not necessarily a strong point of the Luna 7 (unsurprisingly), however, the stage that it did create was rather enjoyable and laid back.
The biggest strength next to its pleasant highs were arguably its price, at which there was little competition at the time (or even now). For those who are interested and wish to purchase new, Wireworld have released updated versions, such as the Luna 8 with a slightly improved DNA double helix design and similar sonic features. Used versions of the Luna 7 are available at very reasonable prices. Both versions have been given favourable reviews by critics and consumers alike.
If the aim of this website is to propagate affordable HiFi solutions that deserve the term ‘fidelity’, this cable should be listed among the available options. I will keep the Luna 7 running for a few days, as I am positively surprised by its performance between preamplifier and power amplifier. Not ‘High End’ but highly enjoyable nevertheless. At this point, I am not sure if I can get over the fact that the two channels are running in parallel with that tiny space of plastic between them, and, after all, there are further cables to be explored. If you are familiar with the Luna 7 or Luna 8 interconnects, you are more than welcome to leave a comment below.
Tested on the following setup: CD player: Denon DCD 1420 (on Digital Coax HiVilux Reference); DAC: Cambridge DacMagic 100 (on Kimber Kable Timbre); Preamp: Restek V1 (on Wireworld Luna 7); Power amp: Hafler XL-280; and Tannoy XT8F (bi-wired, on Belden 9497)
Author: Karsten Hein
Category: Gear & Review
Thomas Fast opened his first HiFi studio in Stuttgart in 1998 and has since become a trusted focal point for audiophile music enthusiasts nationwide. Fastaudio offers a range of quality services, ranging from the sale of HiFi and High End components to the setting up and fine-tuning of these components in households, offices, or in professional studios. Today, fastaudio is also a reputable manufacturer of cables and acoustic room treatment solutions.
The fastaudio Black Science MK II RCA/cinch interconnect is a cable of the brand’s own making and—now in its fourth generation—has made a name for itself as an able performer. It can be purchased in many different lengths, and terminated versions offer a choice of plugs: the more affordable Neutrik NF2 CB-2, and the pricier WBT Nextgen. Both Neutrik and WBT undoubtedly make excellent plugs. I have been a fan of the NF2 CB-2s, mainly because of their massive feel and their convenient spring mechanism, a design by which the ground is pushed into the outer shell when plugging it in, thus creating an easy to place, but very firm, grip on the socket. It really is an incredibly well-designed plug.
The version of the fastaudio Black Science MK II that is shown here has been terminated with WBT’s Nextgen plugs. Just from looking at the design of the interconnect, it becomes clear that fastaudio means serious business. There is the hollow center prong of the WBT that is split apart ever so slightly as to provide maximum contact with the socket. Instead of a circular outer contact, the WBT grips the outer part of the socket in a controlled manner. The cable itself has been designed to reduce skin-effects by using a blind mesh. Both its shield and hollow inner conductor run parallel to its longitudinal axis to reach a more favourable ratio of inductance and capacitance. A promising design in many ways.
The name Black Science itself is an allusion to ‘black’ magic (or voodoo, as cable critics would have it), to the concept of the cable as an inexplicable ‘black’ box, as well as to ‘science’ and research, disciplines that help to shed light on the many undiscovered mysteries in the universe. I cannot be certain that this was Thomas’ intention when naming the cable, but, as linguist, I cannot help but place the name in the context of popular discourse.
With its shielded design, the Black Science MK II will most likely be connected between preamplifier and amplifier. (Fast makes a separate version for connecting to phono, that either comes terminated with the traditional 5-pin DIN or simply as RCA/cinch and includes a separate ground lead terminated with spade.) The cable that I had been using instead of the fastaudio until this point was the EPIC 1 of Haegermann audiolabs. I had chosen this cable, because it was fast, accurate, and forward sounding with great dynamics. In this setup, our system could appear a little harsh at times. In combination with the electrostatic speakers it seemed to deliver enough detail. I did not miss much in the music but was not terribly excited about the sound either.
Upon connecting the Black Science MK II between preamp and amp, I first noticed that the stage had difficulty forming, the sound was a bit muddled, and I sensed a slight 50Hz humming on the right channel while the left channel was dead silent, as is usual for the DB1-ST140 combo. I checked the position of the cables and made sure that they neither crossed nor touched. I checked the sound again and seeing some improvement, I doubled my efforts of placing the cables, until both channels were silent. Standing next to the system and the bi-directional electrostatic speakers, it is difficult judge the impact of any change, except for obvious flaws such as humming. But sitting back on the couch, I immediately noticed that my efforts were starting to pay off.
When properly placed and connected, the Black Science MK II is capable of constructing a very convincing stage with plenty of natural width and depth. It does this much better than the EPIC 1 with which the music was more entangled with the speakers. The MK II plays more seamlessly when panning left to right and also reaches out further into the far left and right corners of the room. The cable seemingly provides a greater spectrum of sound and is able to show more nuance. Individual notes linger much longer. This is especially obvious when listening to natural instruments being played. Jamie Saft's 'Loneliness Road' really shines in all its natural beauty, providing fully contoured natural bass. Instruments and voices are presented without tonal coloration. Comparing our two present HiFi systems, the Restek-Hafler-Tannoy and the DB1-ST140-MartinLogan, I can say that the latter paints in slightly warmer and therefore more pleasant colours whilst offering similar dynamics and detail. If this can at least partly be attributed to the fastaudio cable, I would tend to see this as an asset and still be perfectly happy with its performance.
Tested on the following setup: CD player: Marantz CD-17 (on WesternElectric); Preamp: DB Systems DB1 (on fastaudio Black Science MK II); Power amp: B&K ST-140; MartinLogan SL3 (bi-wired, on Belden 9497)
Many factors contribute to the integrity of sound. This is especially true to all components that are in electric, physical, or accoustic contact with our HiFi chain. A HiFi unit is always placed on something and connected with something, and how it is placed and connected and how it relates to the room will have an influence on its ability to perform.
For people starting their journey into HiFi it is often surprising to learn that the cable used to connect any two units together may well be considered just as important in terms of sound signature as the units themselves. In fact, those who have not experienced this with their own ears may even put this information off as hogwash. In the end our ears decide, and those of us who have no interest in exploring may decide to simply stop doing so here. For all others, the accessories chapter will hold some very useful information.
Author: Karsten Hein
Category: Gear & Review
The first time I read about RCA caps was in the instruction manual of the Restek V1 preamplifier. In this it is explained that all unused RCA input circuits must be shortened to suppress noise potential coming from high frequency radiation. It is stated that the unit could not otherwise fulfil its specifications in terms of total harmonic distortion and signal to noise ratio. Not knowing what to make of this information, I was relieved to find out that they come in a dozen varieties and are relatively inexpensive to purchase new.
Despite the Restek V1’s gold plated inputs, I decided to purchase the caps from a Chinese importer called Audiocrast. The base material is brass which has then been rhodium coated. These plugs were much better rated than their golden equivalents, otherwise I would have attempted to lessen the effect of material transitions by using the same contact material as the inputs.
On the Restek the plugs have the effect of making the noise floor dead silent, on all sources except for the phono stage. Listening to Diana Krall’s ‘Turn up the Quiet’, the fading out of the studio’s ambient noise is now much more apparent than before. I also enjoy listening at higher volumes more than I did before, simply because the music stands out more prominently from the background. I especially enjoy the affect the plugs have on stage depth, which has just become that little bit more realistic. If your system is capable of great sound, this little add-on can well be considered an audio essential.
Author: Karsten Hein
Category: Gear & Review
I love our Hafler XL-280 amplifier. Rated at 145 watts RMS per channel, it produces enough energy to play loud on speakers with low efficiency levels. And its high-current abilities make it a great companion for even the most demanding speaker designs. Its fabled MOS-FET transistors create a musical and pleasing sound that is thought to be similar to tube amps, while maintaining the accuracy of solid-state amplifier designs. On the downside, the Hafler’s relatively high class-A output is anything but energy efficient and produces lots of heat as a result. Hafler did provide large external heat sinks, one on each side of the amp, to provide passive cooling, but on warm summer days, the transistors on our 1988 unit go into self-protect mode and begin limiting current, a measure that is audible through a flat and compressed sound and a helpless flapping noise instead of solid bass. When I first heard it, I mistakenly took our CD player to be at fault and had it serviced. Little did I know that what I was hearing was caused by an overheated amp.
As I learnt, there were many factors that may have caused our old amp to overheat. For one thing, the transistors are usually coupled to the heat sinks with the aid of a heat-conducting paste. When this paste becomes brittle with age, its capacity to transport the temperature away from the transistors lessens. Secondly, the perfect place for a large power amp would be close to the floor, where transformer vibration can be best absorbed, and where the temperature is usually the lowest. In our setup, however, the amp was placed at about 40cm height right under a slanted roof. This brings me to a third factor: The temperature in attic rooms — and such is our Listening Room II — are usually higher than in the rest of the house. Due to all this, there was just not enough cool air passing the transistors and heat sinks to maintain normal operating temperatures for our amp, causing it to eventually limit the current travelling though the transistors.
Hence, I needed to find a cooling solution that would solve my heat problem without interfering with the integrity of the music. And — as is usual when there is a problem — there was the immediate excitement that presented itself from a new possibility for exploration. I started browsing the web and found some existing PA solutions, involving cooling fans built into 19-inch rack cabinets, as well as a range of individual fan motors with separate heat sensors for rack installation. However, none of these offers were particularly silent, good looking, or even practical for a HiFi setup. It was not until I came across AC Infinity's "AIRCOM S9" that I began to think audiophile amp cooling was within reach, even for amps that did not have super silent air movers built in from the beginning. And yet, from the product description alone, I could already guess that some additional work would be needed.
AC Infinity builds air movers in various formats that extract heat in different ways: e.g., to the front, to the back, etc. The company has its roots in audio engineering, and I saw that the S9 conveniently had the exact width of the Hafler amp. It extracts the air from any device placed underneath and propelled it straight upward by means of three ultra-silent movers. I anticipated this design to be most beneficial for my application, although I had not yet decided whether to place the AIRCOM S9 underneath or above our amp. Since the S9 was built with modern multi-channel amplifiers in mind, rather than 2-channel vintage equipment, it was about 20cm deeper than our Hafler, which entailed that I would need to design an additional support for its rear feet to incorporate it in our setup. I chose the S9 over its more expensive sibling, the T9 (which would have had more features and digital technology on board), because I felt that fewer digital gimmicks would mean less interference on the audio stream. Sadly, both units came equipped with rather unpleasant and un-audiophile switching power supplies, a fact that was already apparent from their descriptions online. In my eyes, a contradiction to the company philosophy.
I saw that AC Infinity were selling their S9 at very affordable prices in the USA. The price for the same product from a German importer was approximately double. I weighed my options and decided to buy from the German importer, thinking that I would support a local firm, have improved support options and also receive a power supply made for the German market. It turned out that the latter was not the case, and that I had simply paid a 100% markup for the same product with US power supply that would not even fit into a German AC outlet. I was quite disappointed, made a mental note never to buy from that German supplier again and exchanged the cheap and non-compatible switching supply for a conventional regulated one with obvious audiophile advantages, as it would not cause as much as a ripple on the power grid. — While my caution regarding switching supplies is often humoured by non-audiophiles, I later read that not few of AC Infinity's customers had complaints about electronic noise radiating into their audio systems; a phenomenon that I have not experienced using a linear supply.
When switched to temperature triggered operation, the S9’s internal heat sensors will start the fan motors automatically when the amp becomes too hot. There are two modes: a simple on-off switching at a given level setting when the temperature limits are reached, and a smoother heat-dependent operation in which the AIRCOM sensors determine the level setting independently. Both settings only work when the unit is based above the amp, as heat rises upward. I consequently designed a simple stand that would position the cooler above the amp without hindering much of the original air-flow. The design has proven itself to work very well. In simple on-off switching mode, the AIRCOM S9 turns on for the first time after the Hafler XL-280 has been running for about 1-1.5 hours. It then remains on at the preset speed (level 1 of 4) for approximately 40 seconds, before switching off again for about 5-10 min. In heat-dependent mode, the S9 runs more often for shorter intervals. Obviously, the cooler the room, the less cooling is needed.
Since the AIRCOM S9's lowest level of operation should be sufficient for most household applications, the S9 is quiet enough to be classified as an audiophile cooler. While I can detect the aeolian tones associated with soft wind in a silent room, this sound is almost completely absorbed once music is playing, even when it is playing at very low volume. My observations were made sitting 2.5m away from the device diagonally. In combination with our Hafler, this audiophile fan cooling system is doing a wonderful job.
Author: Karsten Hein
Category: Gear & Review
I remember vinyl singles mostly from my parents’ small vinyl collection in the seventies. The fact that singles have a lager centre hole than long-lay records was usually compensated by a thin plastic star that was clicked into position right after purchase. The centring star then remained in this position until the collection was stored in the basement and forgotten about. In this sense, singles were made to handle like LPs, and the advantage of them having a larger centre hole was lost.
From the 1950s until the middle of the 80s, vinyl records were the primary way of storing music in households, but also at public venues, such as nightclubs, bars, and radio stations. Due to their short running time, singles in many cases needed to be changed more often than long-play records. This could result in greater wear on the centre hole, especially, if the picking and placing was done by a juke box. The larger center hole distributed the forces along a larger surface and left greater margin for error, if the prong was conical in shape.
I bought my first vinyl singles in the early 80s and simply adopted my parents’ method of clicking the star in place. Then there came a long time without records, from about 1995 to 2017, during this time I sold my collection and forgot all about vinyl. And although it has been a few years now that vinyl saw a comeback to our household, vinyl singles had not been among my prized possessions until my friend Charles handed me a stack of singles to keep. To my surprise none of them had the little star inside, and I no longer owned the typical plastic puck that came with every original player.
When searching the web, I was actually surprised to find that one can still find the original plastic stars for centring vinyl singles, but I was not going to settle for this. I wanted to explore the benefit of singles having the larger hole and, frankly, I just wanted to own the best centring solution available on the market, one that makes best use of the possibilities that the design of a vinyl single provides.
The puck I came up with is turned from a solid piece of metal with a smooth and polished surface. Singles effortlessly glide over the hemisphere and land in perfect position. Exact machining ensures that the fit is neither too loose nor too tight. Weighing a solid 150 grams, the massive puck can be used as record weight for LPs. Especially vintage players benefit from a less heavy record weight to reduce bearing and motor wear but also to keep the player position level.
I love the fact that the puck remains decorative and useful, even if it is not centring a single or pressing down on an LP. When placed next to the record plate, the puck helps to minimise chassis resonances and looks quite sophisticated at the same time. What more could we ask for in a puck?
Author: Karsten Hein
Category: Gear & Review
When it comes to the manufacturing of High End dinosaurs in our modern times, China will surely be heading the list. Two factors are contributing to this phenomenon: On the one hand, upcoming Chinese entrepreneurs have been harbouring a personal craving for vintage American, European and Japanese High-End designs that they previously could only read about in magazines. With incomes having risen and the cost of manufacture still reasonably low, such cravings can now be fulfilled. On the other hand, western industry leaders have neglected to serve their local customers with reasonably priced High End designs that are based on long-established standards.
Buying directly from China is not without risk, of course. The great distance makes returning products more difficult, and some deeper cultural issues come into play. For instance, one might not actually receive the product purchased in the exact design advertised. The internal parts used will often change with each new consignments, following local Chinese sourcing decisions that might either be price or quality driven. While this may be acceptable to Chinese local customers, it is certainly not best practice in western countries. Buyers looking for certainty and consistency are therefore better advised to purchase elsewhere. Finally, the cost of transportation mostly does not include customs duties which can come as a surprise.
For buyers who understand about the product they wish to purchase and are willing to take a risk, the Chinese High End market offers some exciting opportunities. It is probably wise to keep in mind: the simpler the product, the less can go wrong, and the Zero Zone 100VA 12V power supply is such a case in point. A five kilos dinosaur in its own right, it was brought in to replace the DACs original switching power supply that had been sending surprising levels of audible distortion to the whole HiFi system. Not a small blunder for such a sensitive device.
With 4mm brushed aluminum front and massive heat sinks on both sides, a large 100VA toroidal transformer and heavy duty caps the regulated linear supply has the potential of powering heavy machinery over long periods of time, properties that come in handy when providing maximum bursts of clean energy to a small and power sensitive unit like a DAC. Placed on three Oehlbach pucks, the unit rests so firmly on the rack as if to challenge anyone to attempt to move it ever again.
Seen from above, we can identify the AC power socket and mains filter (top right), the toroidal transformer (on the left), a rectifier (top center), two large audio grade electrolytic capacitors (right), two voltage regulators (top and bottom), as well as parts for the unit's soft start circuitry (center). The DC output socket is located bottom right.