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ZZZPXVLFDOÀGHOLW\FRP 

 CONTENTS

JANUARY 18
VINYL & RECORD REVIEWS NEWS AND OPINION

76 Classical Companion 15 Welcome

Christopher Breunig continues his A message from the editor
guide to classical music with one of 16 News
the most celebrated interpreters of Sonus faber reveals details of its
Beethoven – pianist Rudolf Serkin re-worked Aida speaker, flagship disc
78 Vinyl Release player and DAC from Pioneer, more
‘Hard-hitting songs for hard-hit high-end headphones from Focal,
people’... Steve Sutherland revisits plus Parasound’s JC3 Jr. phono stage
Woody Guthrie’s Dust Bowl Ballads, 18 Show Blog
recently reissued on 180g vinyl Advanced amps, hand-made slate
80 Vinyl Icon speakers, range-topping turntables
They put ’60s psychedelia behind and even a tube or two... We report
them not with a whimper but a from the 15th Hong Kong AV Show
head-bang. Mike Barnes celebrates 24 Investigation
Status Quo’s 1972 LP Piledriver Are you sitting on a vinyl goldmine?
86 Meet The Producers 40 Pro-Ject 175 Vienna Mike Barnes examines why some
Kiss, Alice Cooper, Pink Floyd... Philharmonic Recordplayer records command higher prices
Steve Sutherland examines the Limited edition take on company’s among collectors than others
work of music producer Bob Ezrin – Classic turntable marks anniversary of 103 Opinion
the king of the concept album the VPO. Will it end on a high note? Insider comment on the audio
92 Music Reviews 44 Convert Technologies Tempus topics of the day from Paul Miller,
This month’s audiophile LPs and It’s high on style, flexibility and ease Barry Fox, Jim Lesurf, Steve Harris
hi-res downloads plus the latest of use but can this big-ticket all-in-one and, writing from the US, Barry Willis
rock, jazz and classical albums media player compel on sheer sound? 112 Sound Off
48 Focal Kanta No2 The pros and cons of music on flash
DEFINITIVE PRODUCT REVIEWS A blinder of a speaker for a bijou drives, questions on the quality
space, this compact model promises of recorded sound, a deep dive into
30 Vivid Audio Giya G1 Spirit a stress-free listen at a price to appeal balanced connections, plus jazz buff
Arresting looks, peerless sound... 52 Ortofon MC Windfeld Ti with £2k to spend seeks cartridge
is this speaker one of the greatest More love for this pedigree pick-up as 138 Off The Leash
currently on sale, at any price? it’s graced with a titanium inner body. Reverse-engineered loudspeakers,
36 Luxman L-509X How does it sound, ten years on? mint reel-to-reels... Ken Kessler on
No digital inputs here, but could 56 Musical Fidelity M6 SDAC why a recent experience at a show
retro-looks and a sweet rich sound Latest DAC/headphone amp loses g audio nirvana at home
has brought
make this a perfect amp package? Bluetooth but gains DSD. Yet there’s a
handy saving on the price. Worth it?
60 Hegel H190
Take a simple amplifier with bags of
power then add network capability.
Is this another winner from Hegel?
64 Franco Serblin Accordo
Is this petite speaker from the pen
of a master designer a sure-fire bet?
69 QED Supremus
In need of long cable runs? Why this
cold-welded wire should top your list
70 Bowers & Wilkins PX
UK company’s first noise-cancelling ABOVE: The reasons for a record’s
cans... are they money well spent? rarity may not be as straightforward
as you think... See p24
VINTAGE

118 Vintage Review BSCRIBE!

We test Technics’ SL-Q303 turntable,
a direct-drive model released in 1982
SUBSCRIBE!
124 From The Vault
It’s Jan ’69 and Gordon J King takes Special Christmas offer:
ABOVE: Focal’s Kanta No2 loudspeaker with stock of an amp from a company Save 75%issues
Three on digital with£3!
for just a
tweeter developed for the Utopia. See p48 that would later be known as Luxman print subscription See p90
See page 60
82
57

JANUARY 2018 | www.hifinews.co.uk | 3





 

 








 



 










 

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 JAN/18
RIGHT: Pooling its key design
knowledge into one MC pick-up,
ll good things come

A
Ortofon refreshes the celebratory
Windfeld with titanium tech. See p52 to he who waits...
or so the saying
goes. And we have
waited so very long
before finally getting our hands
on the rare Accordo standmount
loudspeaker from the late, great
Franco Serblin.
The man who launched
Sonus faber may not have been was also the designer of B&W’s
a classically-trained engineer iconic Nautilus ‘snail shell’
but that never prevented him loudspeaker then subsequent
ABOVE: Pictured in a cool white finish, Hegel’s H190 integrated offers from breaking the mould of B&W floorstanders might all have
twice the grunt of its Röst amp and includes a superior USB DAC (p60) traditional loudspeaker design looked like Vivid’s current models
and, ultimately, setting trends if stylistic conservatism had not
and styles in motion that would won the day.
inspire pretty much every other Vivid has the flexibility and
forward-thinking speaker brand. dare I say it, the devil-may-
You can read more about the care eccentricity, to pursue
man, the myths and the magic, Dickie’s concept – employing
alongside our in-depth technical continuously tapered horn
report, in our review on p64. absorbers behind each drive
We have also waited
an interminable period
before levering a new ‘The esoteric form is
Vivid Audio loudspeaker
into our lab and listening
driven by function,
room. As you might not shock value’
expect from your
favourite hi-fi mag, we’ve gone unit – to its logical conclusion.
right to the top with an exclusive And thank goodness it has, for
in-depth review of Vivid’s new the Giya G1 Spirits are one of
flagship – the Spirit version of the the most insightful and musically
VINYL: ’Quo plant hard-rocking roots Giya G1 floorstander [p30]. revealing loudspeakers we’ve
with Piledriver, our Vinyl Icon (p80), Dubbed, in all good humour, had the pleasure to hear.
while Steve Sutherland protests Trump the ‘big bananas’ during their Oh, I must also mention the
as Woody Guthrie’s Dust Bowl Ballads time in our listening room, the Luxman L-509X integrated amp
is re-released on 180g LP (p78) G1 Spirits thankfully also come on our cover. It’s a brand with
in less fruity colours. But their staying power – Hi-Fi News’
RIGHT: Hi-Fi News & RR is the UK’s esoteric form is driven entirely inaugural Luxman review was
representative of EISA’s Hi-Fi Expert by function, not shock value. a half century ago [see p124]!
Group. Editor Paul Miller took over as In fact, bearing in mind that
EISA’s President in June 2016 Vivid’s director, Laurence Dickie, PAUL MILLER EDITOR

HI-FI NEWS’ EXPERT LINE UP: THE FINEST MINDS IN AUDIO JOURNALISM BRING THEIR EXPERIENCE TO BEAR ON ALL AREAS OF HI-FI & MUSIC

BARRY FOX JOHN BAMFORD KEN KESSLER KEITH HOWARD STEVE HARRIS ANDREW EVERARD STEVE SUTHERLAND
Investigative journalist JB brings huge is a long-serving has written about Former Editor of this has reviewed hi-fi for worked on Melody
supreme, Barry is the industry experience, a contributor, luxury hi-fi for 40 years, and very title from 1986 over 30 years and Maker and then edited
first with news of the penchant for massive goods writer and edited Hi-Fi Answers through to 2005. A is still effortlessly NME from 1992-2000,
latest developments speakers and a love of champion for the for nine. KH performs lifetime in audio and enthusiastic about new the Britpop years. Steve
in hi-fi and music hi-res audio in all its renaissance in valves our speaker and a love of jazz makes technology, kit and brings a unique slant to
technologies diverse guises and ‘vintage hi-fi’ headphone lab tests Steve a goldmine discovering new music our Vinyl Release pages

JANUARY 2018 | www.hifinews.co.uk | 15

 NEWS We reveal the latest products and upcoming events

Aida afresh
SONUS FABER REINVENTS ITS ICONIC FLOORSTANDING FLAGSHIP
Unveiled to packed audiences at the series of ‘Tuned Mass Dampers’ designed
recent Audio Show in Warsaw, Poland, to quell any residual vibrations. These
Sonus faber’s new Aida floorstanding drivers include a new 180mm pulp/
loudspeaker may look just like the Kapok/Kenaf fibre-coned midrange with
existing Aida flagship [HFN Apr ’12] two partnering 80mm mid units on the
but now incorporates ‘brand new rear Sound Field section made from
electroacoustic engineering’. The various similar materials.
front, rear and downward-firing drivers Bass is handled by a pair of
have all been refreshed in this ‘32⁄3-way’ 220mm woofers, featuring stiff but
loudspeaker, including its ‘Arrow Point’ lightweight pulp/foam/pulp sandwich
tweeters – a 28mm version on the cones, working into discrete ‘Stealth
front baffle (first used in the Lilium) and Reflex’ chambers. Sub-bass is
a 29mm version on the rear ‘Sound reinforced by a 320mm down-firing
Field Shaper’ system [pictured]. These woofer with a 100mm voice coil.
tweeters have powerful neodymium In addition to the classic, highly
magnets, an acoustic labyrinth rear polished red finish, the new Aida
chamber and anti-resonant mountings. will also be offered in the Wenge
Inside the Lyra-shaped, cross-grained wood first seen in the Amati
Okoumè plywood cabinet there are Tradition [HFN Oct ’17].
three separate enclosures for the front- Sonus faber SpA, 0208 971
firing drivers and a reinforcing steel 3909; www.sonusfaber.com;
rod that also couples the structure to a www.absolutesounds.com

Portable high-end A Clear head

QUESTYLE ON THE HOOF AND AT HOME NEW ’PHONE MAKES IT A TRIO FOR FOCAL
Evolved from the QP1R, Questyle Audio’s latest
DAP (Digital Audio Player) offers compatibility
with 384kHz/32-bit LPCM and DSD256 music
files, and boasts a full 64GB of internal storage OPPO UPDATE
The ability to update firmware over
with support for a further 200GB via a micro SD the Internet is a feature of most
card. The £1299 QP2R is available in gold and ‘connected’ products and especially
metallic grey finishes and features the brand’s AV products that rely on a host
hallmark ‘current mode’ amplifier technology of third-party software solutions.
alongside a ‘Velvet Sound’ AKM AK4490 DAC. OPPO Digital is no exception to
While the QP2R includes optical, headphone this trend but while servicing the
versatile UDP-205 universal disc
and balanced audio outputs for listening on- player/DAC, owners will now have
the-go, it may also be docked the opportunity to add an entirely
in Questyle’s new £599 HB2 new feature – MQA decoding. CD
charging hub. With its CNC- and USB/coax/optical inputs are all
machined alloy chassis and supported. www.oppodigital.com
rhodium-plated audio RCAs, Focal is on something of a roll with new models
the HB2 brings IR remote IN MEMORIAM emerging thick and fast [see Kanta No2, p48]
The hi-fi firmament lost two of its
access to the QP2R, allowing brightest stars with the passing of and this hive of activity also extends to its
it to be integrated into a Infinity Systems co-founder Arnie headphone range as the high-end Elear and
conventional audio system. Nudell and Ayre Acoustics’ Charles Utopia models are now joined by the £1399
Questyle Audio, China, Hansen in Nov 2017. Both men were Clear. This is another open-backed circumaural
03301 222500; www. innovators in the field of high-end design that feature’s Focal’s proprietary full-
questyleaudio.com audio and while their vision will be range driver with its 25.5mm frameless copper
missed, their inspiration will live on
in the brands and products they voice coil – one of the very few headphone units
nurtured for the world’s discerning that’s engineered like a miniature loudspeaker.
audiophiles. Hi-Fi News offers its Sensitivity is quoted at 104dB/1mW while the
condolences to the families and combination of soft grey leather and microfibre
colleagues of these pioneering spirits. fabric cushioning promises a comfortable fit.
Focal-JMlab, 0845 660 2680; www.focal.com

16 | www.hifi k | JANUARY
hifinews.co.uk Y 2018
 We reveal the latest products and upcoming events NEWS

Junior vinyl Pioneering player

PARASOUND’S STRIPPED-DOWN PHONO STAGE FLAGSHIP CD/SACD PLAYER AND DAC NOW AVAILABLE
The ongoing ‘vinyl revival’ is not only fuelling the turntable industry
[see PM’s Opinion, p103] but also encouraging the development
of new pick-ups and phono stages. And here’s another – the JC3
‘Junior’ is essentially a trickle-down derivative of Parasound’s
successful JC3+ phono stage [HFN Oct ’15]. Priced at £2199,
the JC3 Jr. is designer John Curl’s slimmest and most affordable
phono preamp yet. The fully-active RIAA stage offers three levels
of gain (+40dB, +50dB and +60dB) which are suitable for all but
the lowest output MCs. Loading is fixed at 47kohm for MMs and
variable between 50-500ohm for MCs while the fixed outputs are
available on both single-ended (RCA) and balanced (XLR) sockets.
Front panel controls are limited to ‘power on’ and ‘mono’, and the First seen at Berlin’s IFA in of the digital filter modes
Parasound JC3 Jr. is available in both black and silver finishes. Sept 2017, Pioneer’s £2000 offered by the ESS chip are
Parasound Products, Inc, California, 01249 708641; PD-70AE is a new flagship disc enabled on this player which
www.parasound.com player and DAC that handles also boasts an enhanced build
both CD and SACD media as quality with its ‘Rigid Under
well as LPCM and DSD music Base’ chassis, plus a screened
files. This is a fully balanced and damped disc mechanism.
design with separate PSUs Pioneer & Onkyo Europe
for the digital and analogue GmbH, 0208 836 3500;
circuits, the latter including www.pioneer-audiovisual.
dual ESS Sabre DACs. Three co.uk

HI-FI NEWS? JUST ASK...

An Iota more... If you can’t always find a copy Please reserve/deliver my copy of Hi-fi News
on a regular basis, starting with issue....................
NEAT EXPLORES NEW GROUND WITH A MINI FLOORSTANDER of this magazine, help is at
hand! Complete this form, Title................First name........................................
Neat Acoustics created a and aluminium phase plug.
hand it in at your local store Surname..................................................................
new ‘miniature floorstander’ Both are mounted into their
and they’ll arrange for a copy
category with its Iota Alpha own sealed enclosure, firing at Address.....................................................................
of each issue to be reserved
[HFN Oct ’16] and now the an angle towards the listening ................................................................................
for you. Some stores may
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even be able to arrange for it
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Xplorer. Taller than the Alpha 170mm bass unit loaded, in
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features an AMT (Air Motion driver within the cabinet. IF YOU DON’T
Transformer) tweeter, here with Neat Acoustics Ltd, Co.
a 170mm bass/mid unit that Durham, 01833 631021;
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employs a treated paper cone www.neat.co.uk
AN ISSUE...

Upcoming Events
IMPORTANT DATES FOR YOUR HI-FI DIARY
09-12 JAN International CES 2018, Las Vegas, USA; www.cesweb.org
18 FEB Spring Audio Jumble 2018, The Angel Leisure Centre,
Tonbridge, Kent; www.audiojumble.co.uk
23-25 FEB Sound & Vision Show, Marriott City Centre Hotel, Bristol;
www.bristolshow.co.uk
13-15 APR Axpona 2018, Renaissance Schaumburg Hotel/Convention
Centre, Schaumburg, Illinois, USA
10-13 MAY High End, Munich, Germany; www.highendsociety.de

JANUARY 2018 | www.hifinews.co.uk | 17

 SHOWBLOG Sights and sounds from around the globe

Hong Kong AV Show 2017

Words & pictures: Bob Hawkins

It’s hard to believe that the British transferred

sovereignty over Hong Kong to the Chinese just
20 years ago. The ceremony, which marked the
end of 150 years of British rule, was held at the
Conference & Exhibition Centre in Wan Chai
– a magnificent complex of halls and meeting
rooms that today hosts Hong Kong’s High End
AV Show. Now in its 15th year, the 2017 event
was arguably the best ever. With more than
100 exhibitors, 28,000 visitors and two
theatres, there was much to savour over
the three days the show took place.
There were guest celebrities in
attendance and, for the very first time
at the show, SME, which is enjoying
something of a renaissance. The
exhibition venue covers more than
10,000m2 over three levels and offers
28 sound-insulated audiophile rooms
along with 18 exhibition zones while
visitors each received a souvenir SACD.

These limited edition power

conditioners from Longyu
– the HK$70k Magic 4000
and HK$100k 5000 ‘Electric
Music Processors’ – are
customisable in US or UK
power configurations. The
vagaries of the Chinese
language saw them offered
with a three-year warranty
service – for life! No website
yet and the speakers shown
were not branded.

I first heard Avalon’s Isis The Tecsun Electronics HD80 from China is a desktop D/A system
loudspeaker at the 2014 supporting various input formats up to 192kHz/24-bit. Features
Hong Kong show. Since include 16GB of flash memory, SD Card slot, Bluetooth, RCA
then it has established in/out, two headphone outputs and a remote. Powered by a
a reputation among Far battery pack, it weighs just 480g. www.tecsun-radios.com
Eastern audiophiles as
being one of the top 25
performers. Described
as ‘revolutionary’ by the
company due to the fact
it was the first to feature
proprietary neodymium
magnetic technologies
in all drive units, this
1.54m-tall full-range
floorstander produced
pinpoint accuracy and
a lifelike sound. www.
avalonacoustics.com

18 | www.hifinews.co.uk | JANUARY 2018

 SHOWBLOG Sights and sounds from around the globe
These loudspeakers from
Fischer & Fischer have
cabinets hand-made from
slate, a material chosen, says
the German company, for its
low resonance. The smaller
SN/SL 470M stands 11.5cm-
tall and is a 3-way bi-wireable
design while the larger
155cm-tall SN/SL 770.1AMT
is a tri-wireable 4-way
model. Also on show were
electronics from Audionet,
including its Stern preamp
(top centre of rack) and a pair
of Heisenberg monoblocks,
said by the company to pump
out a kW into a 4ohm load.
www.fischer-fischer.de;
www.en.audionet.de

Here’s Chord’s Technical

Engineer Tom Vaughan
holding the company’s
streaming module, the
Poly. It’s designed to be
used with Chord’s Mojo
DAC [HFN Jan ’16] for
wireless playback. www.
chordelectronics.co.uk

Acoustic Signature’s entry-level turntable, the Primus [HFN Nov ’16], still
looks every bit the winner it did when launched just over a year ago. This
twin-speed no-nonsense deck is shown here with the company’s entry
level 9in TA500 tonearm with straight tube and fully adjustable cartridge
mounting platform. The stylish 4.5kg aluminium platter sits astride a high
precision Tidorfolon bearing while the DC motor is driven from an external
power supply. www.acoustic-signature.com The Zhuhai Spark Electronic Equipment Co from China
unveiled a brand-new product this year in the form
of the A-845 tube amp, designed and produced by
On the first day of the show I Cayin Spark. Operating in Class A, it utilises two replica
was able to obtain access to the WE6SN7 valves for voltage regulation along with two
Avantgarde room during set-up. high power 845 tubes. www.cattylink.com
The fascias of its electronics can
be matched to the colours of its
horn speakers, with the XR PRE
tube preamp having a choice
of 13 colours. The preamp was
introduced in 2012 and features
a single-ended (necessarily
Class A) output stage. The large
knob to the right of the fascia
controls volume and has a single
rotary LED light that shows once
the level is set. Oh, and the
preamp runs off battery power.
www.avantgarde-acoustics.de

JANUARY 2018 | www.hifinews.co.uk | 19

 Performance
beyond
expectation.

RCD-1572 CD PLAYER
RA-1572 INTEGRATED AMPLIFIER

Introducing three new

stereo models from Rotel.
For over half a century, Rotel has been
manufacturing award winning hi-fi components
that set new levels of audio performance within
and often above its class. The tradition continues
with the latest additions to the 15 Series. There
are three new models – the RA-1572 integrated
amplifier, RC-1572 preamplifier and RCD-1572
CD player.

Learn more at rotel.com

Pictured with the P9 Signature headphones from Bowers & Wilkins, an exclusive partner of Rotel.
 SHOWBLOG Sights and sounds from around the globe
These eye-catching reference
monitors hail from Japan. The marque
is Acoustic Harmony and the two-
section monitors – called the GM1
Sophia/GM1 Sophia Kubos + GMS
– were launched for the first time at
the show with company president
Shinji Morizane doing the unveiling.
www.acoustic-harmony.jp

Burmester demonstrated its This rather unusual turntable is from Lithuania. Called
Phase 3 Music Centre, shown the Reed Muse 3C, it’s unusual because it offers
here in red and chrome steel. owners the chance to switch between friction-drive
Inspired by the Bauhaus and belt-drive! Speed is stabilised by a quartz PLL
movement it is dubbed ‘Retro while an electronic levelling system is used to correct
Style’. It comprises two B15 slope or tilt once the deck has been set up. The
speakers and a 161 all-in-one wooden tonearm shown is a Reed 3P. www.reed.it
DAC/receiver. It can also be
controlled via a Burmester app.
www.burmester.de

Octave from Germany showed its first

single-ended headphone/integrated
amplifier. The V16 sports six LED-lit
function buttons on its fascia above a
volume control while to the rear are
RCA/XLR connectors. Output is rated Anthem from Canada first unveiled its STR integrated
at 2x8W. www.octave.de amplifier at 2017’s CES. It combines the benefits of
an advanced preamp with a processor and includes
a DAC, onboard patented room correction, bass
management for two subwoofers and MM/MC phono
inputs. Anthem rates the continuous output of the STR
at 200W/8ohm. www.anthemav.com

Vovox’s CEO Jurg Vogt is also

a talented bass guitarist who,
in his youth, wondered why
different leads made his guitar
sound different. His company
caters for musicians, sound
engineers and is the cable of
choice for Soulution. He says
cables are not his passion – it’s
the music that motivates him.
www.vovox.ch

JANUARY 2018 | www.hifinews.co.uk | 21

 SHOWBLOG Sights and sounds from around the globe
Not an antique but a Line Magnetic
LM3 loudspeaker based on replica
Western Electric parts. The design
comprises an 18in woofer and
TA-7376 crossover unit in the bass
cabinet allied to a Western Electric
22A horn/555W compression driver.
The sound? Exceptionally musical.
www.line-magnetic.eu

Meeting Stuart McNeilis, CEO of SME Introduced in 2014, the Pathos InPol Heritage
[fourth from right], and his team was Reference Amplifier is a fully balanced pure
a highlight. It was the brand’s first Class A integrated valve amplifier using the
appearance at the show as McNeilis Italian company’s patented double-InPol
sets about revitalising one of the UK’s circuitry. Said to produce 80W per channel,
most successful audio companies. it uses two ECC803S Tung-Sol and two 6H30
The Model 30/2 turntable with gold- Sovtek tubes. www.pathosacoustics.com
capped dampers and tonearm gimbals
was a head turner. www.sme.co.uk

To celebrate its 15th anniversary,

Colorado-based YG Acoustics has
created a four-tower version of
its Sonja loudspeaker. The Sonja
XV (eXtreme Version) measures
179x43x72cm (hwd) and uses a Klipsch has celebrated its 70th anniversary
‘BilletDome’ tweeter, said to combine with a series of 3-way speakers it calls the
the benefits of soft and hard dome Heritage line. The Cornwall lll [left of picture],
technology. www.yg-acoustics.com Heresy lll [centre] and Forte lll are all limited
editions with just 70 pairs of each being
produced. Finish is Australian walnut veneer.
The smaller bookshelf Heresy III model is
angled back on small feet. www.klipsch.com

German manufacturer Transrotor’s

new flagship turntable, Metropolis,
glistens like audio jewellery but is
engineered to incredible standards.
At the bottom of the deck’s rotating
shaft are three counterweights that
protrude horizontally to ensure
the platter is absolutely level when
spinning. www.transrotor.de

22 | www.hifinews.co.uk | JANUARY 2018

 SHOWBLOG Sights and sounds from around the globe
Rockport’s Lyra 01 speakers were
used at an entertaining vinyl
workshop held by Michael Fremer. I
found them fast, accurate and highly
musical. Each speaker weighs 560lbs
and has an aluminium shell structure
– a first for the company – filled with
150lbs of a damping compound.
www.rockporttechnologies.com

In the main exhibition hall could be

found zones offering audio equipment,
cables, accessories and music software
for sale. Most notable has been
the growth of personal audio and
headphone products. Business was
brisk as visitors took advantage of the
many discounted show prices.

Chord’s most powerful amplifier,

the stately Class A/B SPM 14000
MkII monoblock, has killer looks and Mobile digital audio players are flooding the
promises a performance to match. market. Whether out running or simply to help
Delivering a claimed 1kW into 8ohm distract from the daily grind, we’re all at it!
it should tame the wildest of loads. Chinese-based FiiO is a leading manufacturer
In regular use it operates in Class A. of headphone amplifiers, DACs and music
www.chordelectronics.co.uk players and won a 2016/17 EISA Award for its
X5 3rd gen model.
www.fiio.net

Estelon’s active Lynx speakers

Next
month
may cost a cool €50k a pair but
you won’t need an amp, cables
or any source equipment, just a
smartphone app and a power lead.
This is thanks to an inbuilt HQPlayer Hi-Fi News visits the Tokyo
from Signalyst that converts signal
to a DSD stream before serving it up International Audio Show
to the drivers. www.estelon.com

JANUARY 2018 | www.hifinews.co.uk | 23

 INVESTIGATION

Vinyl: the value test

Are you sitting on a goldmine?
oldmine? Mike Barnes asks what makes a record rare
RIGHT: Look ‘ t’s best to look at record
after your LPs!
Those ’70s
party albums
with scratched
surfaces and
I collecting from the point of
view that it isn’t a science. It’ss
an emotional thing in terms of
what it means to you as the buyerr or
you as the seller,’ says Nick Brown n
ripped or of Intoxica, which specialises in
written-on rare and collectable vinyl.
sleeves will have Brown has been a record dealer er
little value on since the early ’80s and currently
the secondhand runs his business via its website orr by
market. A well appointment. He explains that like e
cared for album all commercial activities the value e of
from early in an vinyl LPs is based on the principless of
artist’s career supply and demand, but a number er of
that sold in ors
other less easily quantifiable factors
small numbers, need to be taken into account.
such as David For example, the way demand
Bowie’s 1967 fluctuates with changes in taste and
self-titled debut the way that an artist is perceived. d.
on Deram (inset), tor,
Rarity in itself is an important factor,
will command a but rarely the sole determinant. And
premium price although some singles and LPs are e
bought for investment and never discovered that tha
hatt these
thes
th e e
played, the deciding factor in value ue records were really good od,
d, ol
good, ollde
d r
de
older
is always the condition of the record.ord. people who’d ditched their vinyl yll ffor
or
CDs came back to vinyl, and the LPs
PUSHING UP THE PRICE were very slowly becoming hard to
Brown explains how the collectors’rs’ find
fi nd in excellent condition. These
BELOW: David market works taking David Bowie as were party records and as such only
Bowie’s Low LP an example. ‘If you go back 15 years ever had a slim chance of survival.
on RCA provides or so you might get £7 or £8 for a They are also iconic records and in
a typical example copy of Low. No one was interested. a psychological way have become explains ‘The Deram LP David
explains.
of how prices Everyone who liked David Bowie had souvenirs of a past time. Bowie, from 1967 has always been
for secondhand it. At Intoxica we just kept the RCA ‘None of this stuff was in print at expensive. But as soon as you get to
vinyl have risen stuff in our catalogue, because they the time, so you start pushing up Let’s Dance, pretty much everything
over the past 15 are good records. But ten or so years the price, it’s costing from then on until
years. While the ago we were struggling to find other a bit more to get it Bowie died (in
singer’s death in copies to re-stock so we were selling so it’s £15 and then ‘The deciding 2016) was more
2016 saw a spike
in demand, prices
the album at £8 or £10.
‘This was for a number of reasons.
that flies out and so
you put the next one
factor in value or less unsellable,
although Blackstar
soon returned to There was a new generation who up for £20. So prior is the condition will sell really
market norms weren’t around in the ’70s who to his death you’d well. The public
£25
pay £25-£30 for a of the record’ perception of how
ni copy of
really nice popular he is isn’t
R LPs, Pin-Ups being the
the RCA always measured by sales.’
lea a desirable.’
least When Bowie passed away, there
Although Bowie’s ’70s was a huge spike in demand, to
o
output on RCA represents his grab a memento of the artist, or
g
golden age there is a lot of even to present a collection. Brown
v
variation in value across his mentions that he sold a number of
back catalogue. the ’70s RCA LPs to a certain ’80s
‘The Mercury and the pop star who was filmed soon after,
P LPs and singles from
Pye declaring his love of the artist while
tth ’60s have always fetched
the surrounded by these supposedly
qui high prices because they
quite long-cherished treasures.
alw
way were quite rare – no one
always ‘Hence the daft prices some
bough them
bought t at the time,’ Brown of the things changed hands

24 | www.hifinews.co.uk | JANUARY 2018

 LEFT: Renowned
TOP 10 RARE RECORDS
recording and
mastering 1 The Beatles aka ‘The White
engineer Rudy Album’ The Beatles
Van Gelder, In 2015 Ringo Starr auctioned off
perhaps best his personal mono copy – Numberber
known for his 0000001 – of the 1968 album in
work with the the US. Early estimates were that
Blue Note label. it would fetch $4000-$6000. It
The presence achieved the staggering sum of
of his name or $790,000, or around £600,000.
initials on an LP’s a copy for $13,000, with each of
run-out groove is 2 ‘My Happiness’ Elvis Presley the contributors getting a digital
taken as a mark Elvis’s earliest known recording version. That copy was then sold
of quality among was made at Sun Studios in 1956. to super-rich Minecraft creator
collectors of jazz Jack White of The White Stripes Markus Persson for £35,000.
records bought the unique acetate in Meanwhile, the digital version can
2015 and had it transferred and now be found on YouTube.
for immediately his death was repressed for Record Store Day.
announced,’ Brown notes. ‘The TOP RIGHT: The Its value? A cool £225,000. 6 ‘Do I Love You (Indeed I Do)’
prices have now gone back to what 1958 acetate of Frank Wilson
they were before. Most pop star The Quarrymen 3 ‘That’ll Be The Day/In Spite Of In 1965, 250 demo copies of this
deaths have little effect on the price, single – valued at All The Danger’ The Quarrymen single on the Motown subsidiary
but many people believe that the £190,000 – and Only one 78rpm copy of the label Soul, were manufactured.
records are now worth more money Frank Wilson’s original 1958 recording exists, But Motown boss Berry Gordy
and start bringing them in to shops ‘Do I Love You...’ owned by Paul McCartney. changed his mind and had them
expecting a windfall of cash. They’re of which just two McCartney made a private destroyed – all except for two
most disappointed!’ copies exist reproduction of 25 copies of the copies, one of which sold in 2009
One assumes that LPs that are original for Christmas presents in for today’s equivalent of £28,000.
autographed should be worth 1981. These are reckoned to be
more and they generally are, but BELOW: More worth £10,000, but the original is 7 The Freewheelin’ Bob Dylan
with so many forgers operating, rare vinyl (l-r valued at £190,000. This version of Dylan’s second
often to high standards, they need clockwise) – the album from 1963 was withdrawn
verification to be sellable. 1966 Velvet 4 ‘Original Stack O’ Lee Blues’ soon after release and contains
Collectors range from those who Underground Long Reed & Little Harvey Hull four extra songs. Value £26,000.
seek out a good quality copy of an acetate bought Legendary 78s specialist collector
LP simply because they particularly for 75 cents, The Joe Bussard was apparently 8 Musique Pour Supermarche/
like it, to trophy hunters whose Freewheelin’ offered $70,000 for this 1923 Music For Supermarkets
desire is to bag the rare and the Bob Dylan LP single, of which only one copy Jean Michel Jarre
exceptional. To this end, they can with four extra is known to exist. A more Only one copy of this album
delve into minutiae that wouldn’t songs withdrawn conservative estimate puts its was ever pressed, for an art
even occur to most record buyers. in 1963 and value at $50,000 or £38,000. exhibition in Paris in 1993 and is
The Sex Pistols’ authenticated by a stamp on the
IN THE GROOVE ‘God Save The 5 Caustic Window Aphex Twin cover. It was sold that year for
Jazz record collectors have always Queen’ single on Only a few white label test a price that would translate as
been keen to find out where and A&M, now worth pressings
p g of this album exist, £25,000 in today’s market.
when a record had been pressed 000
£10,000 as it wa
a was withdrawn
and who had done the cut. Copies by th
the electronica 9 Velvet Underground & Nico
of Blue Note albums with ‘RVG’ or pioneer in 1994.
pi
p The Velvet Underground
‘Van Gelder’ scratched or stamped A Kickstarter A 1966 acetate featuring early
on the run out groove show that the camm
campaign was versions of the classic album
record was mastered by legendary ini
nitia
ate in
initiated that would appear in 1967, here
recording and mastering engineer, 201
2014 4 to buyy produced by Norman Dolph, was
p
Rudy Van Gelder. Details as to wheree bo
bought in a New York record store
and when the records had been fo
for 75 cents in 2002. It recently
pressed could be deciphered from so
sold on eBay for £19,000.
the matrix number.
In the last ten years or so this 1 ‘God Save The Queen/
10
has fed into the rock and soul No Feelings’
N Fe The Sex Pistols
markets, with Beatles collectors The single
T sin was withdrawn by
leading the way in trying to A&M shortly after production
A
ascertain the most valuable and only 300 copies are thought
a
pressings of albums – those that to exist. Value is £10,000.
were manufactured in the first

JANUARY 2018 | www.hifinews.co.uk | 25

New legend

Effortless simplicity…
27 years in the making
When you get a Dynaudio Contour you’re up in the big league.
You can see it from the craftsmanship. You can hear it in the
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dynaudio.com
 INVESTIGATION
and on some pressings the whole
triangle is sky blue. That has fetched
up to four times what the original
of that will sell for, but it doesn’t
necessarily mean that it’s the very
first pressing. An original has to
have a certain manufacturer’s
stamp on the back of the stickers
that originally came with the
album, because they changed the
manufacturers of the stickers at
week of release. But whereas jazz times during the ’70s.’

STEVE BAYLEY
pressings were done on a smaller
scale, The Beatles sold millions of INVESTMENT BUYING
records. And while it’s possible to The music press, particularly
work out approximately in which the heritage music publications ABOVE: This rare it’s changing hands for about ten,
week a copy of A Hard Day’s Night such as Q and MOJO, has had a first UK pressing so in terms of percentages, that has
was pressed, it could have been surprisingly significant role to play of The Dark Side gone up more than London property
stamped at one of a number of in rubber stamping the hipness Of The Moon prices,’ says Brown
pressing plants in the UK, which and desirability – or otherwise – of [SHVL804] with Stratospheric prices aside, what
might have been using slightly certain records among the public. labels bearing a might readers of HFN find in their
different variations in the label and ‘I worked for a shop called Vinyl solid blue prism own collections that might be worth
matrix number. So although some Experience for four or five years in recently sold on a bit? Brown answers immediately.
make claims to this effect, it’s almost the late ’80s and we’d have a Dave eBay for £1300 ‘Records purchased in the mid-
impossible to say which of these Dee, Dozy, Beaky, Mick & Tich album to-late ’90s by quite big bands
records were the first. for a tenner and a Small Faces album TOP LEFT: LPs when vinyl was being phased out
for a tenner, and they’d both sell,’ purchased in the will now be fetching quite a bit of
PRECIOUS PRESSINGS Brown recalls. But you’d have this mid-to-late ’90s, money,’ he says. ‘So original Oasis
Similarly, as printing errors cause education that “yes this is good” such as the Oasis LPs on Creation, you’ll be looking at
some postage stamps to be worth and “no this isn’t very good” and so debut album £75-£100 for those. Ocean Colour
a lot more than others, the same people would gravitate towards The Definitely Maybe Scene, Pulp, Verve – first pressings
can apply to vinyl Small Faces. Now on Creation, are of those LPs are changing hands for
LPs, particularly if with a Dave Dee... now becoming £50, £60, £70. A copy of Tom Waits’
they are thought ‘“That single has LP, I’d struggle to sought after Bone Machine will set you back
to indicate those
precious first
gone up more sell it for 50p.
‘Then, in the BELOW: When
three figures, because people just
weren’t buying the vinyl.’
pressings. Some than London Britpop era, you Nirvana’s
copies of Jimi had groups like Nevermind (left) CLOSER TO HOME
Hendrix’s Electric property prices”’ Oasis and Blur was released Asking HFN contributors to take
Ladyland, which saying The Kinks in 1991, record a quick flip through their record
had a section of white writing on are really good and I couldn’t get companies were collections threw up a number of LPs
the inner gatefold sleeve rather than enough Kinks records.’ pushing CD so with a range of potential values on
blue, were thought to be the first The value of rare records has a vinyl copy can the collectors’ market. Patrick Fraser
pressings showing a fault that was long been recognised by insurance now fetch £100 produced one of the first copies of
later rectified. As it turned out, they companies and so some people buy while Rush’s Nirvana’s 1991 Nevermind that was
were simply a batch from sometime them as an investment. 1980 album sent to him pre-release by the press
in 1968 on which the blue film had ‘If you wanted a copy of The Permanent company. A similar copy sold on
slipped during printing. Sex Pistols’ ‘God Save The Queen’ Waves with eBay recently for £100.
‘Bearing in mind that condition on A&M, ten years ago that was withdrawn cover Editor Paul Miller’s copy of Rush’s
is absolutely everything, if you have changing hands for two grand, now is worth £20 1980 album Permanent Waves
a nice clean unmarked, looked promising in that it was in
undamaged, un-drawn-on one the original covers that
copy of Dark Side Of The featured a facsimile of the
Moon, then a regular one Chicago Tribune, with their
is £20-25, but for a proper erroneously published headline
original you would be ‘Dewey Defeats Truman’.
looking to get £150-£200,’ This was later blanked out at
says Brown. the newspaper’s insistence.
‘There are copies that Unfortunately, sufficient
have a printing fault on the copies were distributed for
label. Most of them have a its comparative rarity not to
triangle with a blue tinge translate into significant value
around the lines. Someone and it isn’t worth more than
screwed up somewhere £20. However, Ken Kessler

JANUARY 2018 | www.hifinews.co.uk | 27

 I
INVESTIGATION
produced a copy of The Beatles’ their value and
Yesterday And Today in a ‘Butcher more besides, the
Sleeve’ – worth £1500 – along with boss of these is the
The Beatles Vs The Four Seasons on David Bowie Sound
VeeJay (£200) and a first pressing on And Vision three
Epic of The Yardbirds Live (£40). CD and one CDV
Meanwhile, Johnny Black is the set, which came
proud owner of The Rolling Stones’ in a wooden box
Sticky Fingers with the ‘Warhol with a certificate
Zipper’ in the cover (£20), Satanic signed by the
Majesties with the 3D cover (£65) man himself.
and Some Girls with the original Only 350 were
inner sleeve – later withdrawn manufactured and
following legal challenges over the one went for around
use of some of the images (£20). £4000 on eBay in 2013.
A 1990 Japanese Rolling
DON’T TOUCH Stones promo CD, Steel
This writer recently borrowed Wheels Japan Tour, also
some ’70s vinyl from a friend sold for £2000 in 2016.
who no longer owns a turntable,
including Paint A Picture by Fantasy, THE CHANCERS
a sought-after prog rock rarity But then we get into
from 1973. Although signed to the question of whether
Polydor the group never took off the valuation of some
and split up before a second album records bears any
was released, hence its rarity and relationship to what ABOVE: (l-r
price tag of £800 plus. Said friend people will pay. For example, clockwise) – The
was quite happy to lend it out, Eminem’s rare first release from Rolling Stones’ you how much it’s going to sell for.
but unfortunately 1997, The Slim Sticky Fingers There are a whole bunch of chancers
will also want it Shady CD EP is with ‘Warhol and you do get lunatics who buy
returned. Compare ‘Brown recalls listed on Discogs. Zipper’, Fantasy’s records for outrageous amounts of
and contrast with
another friend who
a purchase that com at over £5000
and had been listed
Paint A Picture,
The Beatles Vs
money, and somebody somewhere is
lucky to be the recipient.’
is a serious collector. is now part of previously at over The Four Seasons The most that Brown recalls
I was leafing through £9000. But looking and The Captain selling a record for was £1000 for a
his rare singles and dealer folklore’ at the record of Beefheart copy of The High Numbers’ ‘I’m The
was about to take previous sales, the single ‘Pachuco Face’ in perfect condition.
a copy of ‘Pachuco Cadaver’, the highest price achieved was £645 Cadaver’ ‘I thought nobody was going
only single released from Captain and the lowest £120. to buy it,’ he admits. ‘That was
Beefheart’s Trout Mask Replica One wonders, then, if it’s actually BELOW: ‘I’m pre-Internet and it turns out that
album, out of its plastic cover for worth anywhere near £5000 and if The Face’, which there are quite a lot of copies of this
a closer look, until he bellowed in anyone on the entire planet is likely was actually around, so now you could probably
panic, ‘Don’t touch it!’. to buy it at that price. Anyone who recorded by The pick up a copy for £400-500. But at
So what about CDs? It was always has spent any time on Discogs.com Who, calling the time that was only the second
accepted that the format was over- and the Amazon Marketplaces will themselves The copy I’ve ever had.’
priced, but the sudden fall in CD have seen plenty of examples of High Numbers to
retail prices about eight years ago valuations that appear crazy. appeal to a Mod MYSTIFYING PURCHASE
caused a collapse in the value of ‘They’ve got nothing to lose as audience, and And just to underline the old maxim
secondhand CDs. listing on Amazon is free, but they’ve the ’80s reissue that something is worth whatever
While many special edition CDs no idea what it’s worth,’ Brown of My Generation someone will pay for it, Brown
and special edition box sets do keep says. ‘It’s just experience that tells on Virgin recalls a mystifying purchase that
has gone down in dealer folklore.
‘About 15 years ago someone
paid £800-£900 for a copy of The
Who’s 1965 LP My Generation, but
it was the issue that came out on
Virgin in the 1980s. There were
two people bidding for it on eBay
and there is always the aspect of
fraud, with someone trying to push
the price up with fake bids. It was
actually worth about a tenner. For
all I know, the bloke was plastered
when he bid for it – it does happen.’

JANUARY 2018 | www.hifinews.co.uk | 29

JAN
 Four-way, five-driver floorstanding loudspeaker
Made by: Coherent Acoustic Systems, Pinetown, South Africa
Supplied by: Vivid Audio Ltd, West Sussex, UK
Telephone: 01403 713125
Web: www.vividaudio.com
LOUDSPEAKER Price: £64,000-£71,950

Vivid Audio
Giya G1 Spirit
It may not look as outrageous as the iconic B&W Nautilus,
but this is its younger, and arguably superior offspring
Review: Keith Howard & David Price Lab: Keith Howard
hen B&W introduced the resonances and undesirable diffraction

W Nautilus in 1993 it created

what is surely the most iconic
loudspeaker any of us will ever
see. Its ‘snail on steroids’ look projected it
on to countless magazine pages around
effects: this is a curved, organic form
designed to be both structurally stiff and to
avoid secondary radiation from right-angle
baffle edges. Stiffness is further enhanced
by the cabinet’s internally-braced sandwich
the world and gave B&W the kind of PR of GRP skins with a balsa wood core.
boost company CEOs dream of. Only
it wasn’t a PR man that contrived the KEYNOTE SPEAKER
Nautilus, it was B&W’s then senior design Reminiscent in side view of a treble
engineer Laurence Dickie. And though clef, the G1 Spirit lacks the G3’s and
it looked like something created by H R G4’s externally visible exponential
Giger for the set of Alien, the Nautilus was horn absorbers behind the two dome
actually an exemplar of the Bauhaus diktat drivers because, being taller, it is able to
that form follows function. accommodate them
It looked that way because out of sight within the
it needed to be that way. ‘Forget slab-side cabinet. But they are
As much as the Nautilus still there, as are larger
was a star for B&W, its
box cabinets, equivalents for the lower-
looks were considered too
outlandish. So in spinning
prone to panel mid cone driver and twin
bass drivers, the latter
off its Nautilus technology resonances’ of which runs upwards
into the 800 Nautilus through the cabinet’s
series, B&W went for more conventional top loop, before curling itself up like a snail
looks, abandoning the curved and tapered shell, just like that of the Nautilus [see
transmission line behind the bass unit that diagram, p33].
so defined the original aesthetic. But the Unlike the Nautilus, however, which
spirit of a full-on Nautilus didn’t die. had a closed-box bass section, the G1
Spirit is reflex loaded and by combining
KEEPING THE SPIRIT this with a tapered rear absorber, realises
Laurence Dickie, who left B&W in 1997 to the benefits of both [see interview, p33].
work in pro audio, became engineering Reduced LF distortion is promised along
director of Vivid Audio in 2004 and picked with improved LF output capability and an
up where he left off, culminating in the improved trade-off of sensitivity and bass
current flagship Giya G1 Spirit reviewed extension (courtesy of reflex loading) plus
here. It’s yours for £64k in black or effective suppression of internal air volume
pearl white gloss, or £68k with external resonances (thanks to the absorber).
crossover, plus another £3950 for custom As in the original G1, twin bass drivers,
colours. It doesn’t replace the existing Giya with a brace between their magnets, are
G1 but slots in above it, and while it looks used to provide force cancellation, and this
very similar it’s actually deeper and shorter principle is carried over to the reflected
to maintain the same internal volume while banana-shaped reflex ports arrayed on
lowering the tweeter axis. either side of the cabinet. All Vivid’s drivers
Visually distinct from the Nautilus, the are designed and assembled in-house
Giya G1 Spirit is still another example of using bought-in diaphragms and voice
form following function. Forget slab-side coils. With the current 225mm bass units,
box cabinets that are prone to panel now with larger 100mm voice coils, Dickie

30 | www.hifinews.co.uk | JANUARY 2018

 HORN ABSORBERS
HO
In every monopole loudspeaker, rear radiation from the drive units is contained
within a cabinet, but designers need to engineer that containment without
audible reflections and resonances within the enclosed air space. In 1965,
Arthur Bailey of the Bradford Institute of Technology tackled this with an
acoustic variant of an electrical transmission line. In electronics, transmission
lines are used to convey high frequency signals with minimal degradation due
to inductance and capacitance. Bailey’s acoustic transmission line differed as
its purpose was to absorb rear radiation down to low frequencies, but like the
electrical line it still aimed to eliminate reflection and resonance.
Bailey’s transmission line was like a folded horn in reverse, with the mouth
immediately behind the driver and the narrower throat some distance away –
at least a quarter of the acoustic wavelength of the lowest frequency handled.
Long-fibre wool within the line gradually absorbed the rear-directed sound.
When Laurence Dickie refined this idea for the B&W Nautilus, using continuously
tapered horn absorbers of appropriate length behind each drive unit, B&W
hoped to patent the idea. But they’d been beaten to it in 1976 by two (French
and American) inventors whose patent, US3997020, describes something
similar, albeit not in the context of loudspeakers. KH

LEFT: The latest D26 and D50 treble and usual, and cheaper, axially-polarised type)
midrange domes are fitted with integral screens to provide large-diameter vents behind
(grilles). All five units have alloy diaphragms, the the dome diaphragms. The motor’s smaller
lower-mid’s now stiffened with carbon rings external diameter also allows the drivers to
be closely spaced, ensuring good vertical
has incorporated a lesson learnt in his off-axis behaviour through crossover.
days working with pro speakers, which he The external crossover option (supplied
found delivered tighter-sounding bass as for review) might suggest it’s intended to
a result of being ‘over-shoved’, ie, having further improve sound quality, by removing
greater motor force than necessary for a vibration-sensitive passive crossover
classically optimal bass alignment. components from the cabinet. But Dickie
Like B&W’s Nautilus the G1 Spirit says he has compared internal and external
is a four-way design, the twin bass crossovers and hears no difference. Instead,
drivers handing over to an improved with the passive crossover removed from
125mm cone lower-mid unit, 50mm the cabinet, there’s always the possibility
dome upper-mid and 26mm dome of an active (third party) crossover being
tweeter at 220Hz, 800Hz and 3.5kHz used with the Giya G1 Spirit. Connection
respectively. Fitment of a larger, from the external crossover is via a thick,
75mm voice coil to the lower-mid captive cable, terminated in a twist-to-lock
driver has increased power handling, connector that locates in the speaker base.
and carbon fibre composite stiffening
rings added to the neck and outer OPEN SESAME
diameter of the diaphragm have This is a dramatic sounding design and
raised the first breakup frequency no mistake, but not in the sense of
from 4.3kHz to 10.5kHz. embellishment or other added colour.
In the two dome drivers, carbon Rather, the Giya G1 Spirit is one of the few
fibre rings complement the unique loudspeakers able to convey the majesty
dome shape. Whereas dome and scale of whatever music you choose
diaphragms typically take the form of to play – with all its delicious texture and
a spherical cap, so that their cross- detail intact. So, despite having a multitude
section is an arc of a circle, Vivid’s finite of drive units, there’s no sense of listening
element optimisation process identified to several speakers in one as you’re offered
the optimal dome cross-section to be a a seamless sound from bottom to top.
catenary – the shape that a slack chain Every aspect of a recording issues forth
adopts under the force of gravity. In the in an engrossing way. AIR’s ‘La Femme
larger dome, as an example, the first D’Argent’ [from Moon Safari; Virgin CDV
breakup mode occurs above 21kHz. 2848] is a case in point; it’s a winsome
All three upper drivers also have rear- slice of synthesiser pop with a big, tuneful
mounted exponential horn absorbers. Their bassline and gentle washes of synthesiser
annular motor assemblies use radially- and vibrant electric organ stabs. The big
polarised magnets (as opposed to the more Vivid conveyed every last dot and comma

JANUARY 2018 | www.hifinews.co.uk | 31

 LOUDSPEAKER

LAURENCE DICKIE
Asked about the evolution of Vivid
Audio’s distinctive cabinet designs,
Engineering Director Laurence
Dickie explained, ‘Our original Oval
series used tapered tube absorbers
on the mids and highs but the bass
loading, despite the cabinet shape,
was still just a simple reflex box and
susceptible to internal resonances.
‘You can stuff the box with fibre
absorbent but this also nobbles
the port output. For reflex loading
to work, the air in the port has to
bounce on the springiness of the
air in the enclosure but fibre filling
adds losses across the audioband,
including the port frequency.
‘I really wanted to see if I could
add an exponential absorber tube
while maintaining the port output.
ABOVE: The Spirit’s cabinet is fashioned from a rigid but lightweight sandwich of balsa between If you just put a driver on the end
layers of GRP. It is internally reinforced by a series of carbon-skinned composite grids of a tube, Nautilus style, and add
a port, the result is poor because
of the mix – throwing out vast amounts for all to hear; the drum work was superbly the absorber does a very good job
of detail, yet still managing to deliver the carried, with fast spinning ride cymbals, of taking away all the spring of the
song in a lilting and carefree way. loose snares and deliciously deep, funky air. The winning combination is a
Although able to handle vast amounts double-bass. Around this, Donaldson’s regular enclosure plus an absorber
of power – such is its grace under alto sax let rip in a dramatic way, with this tube with a cut-off frequency
pressure when the volume is cranked loudspeaker conveying its rich, reedy sound about four times that of the port
north – it is still wonderfully delicate at in all its glory. resonance. Then it absorbs internal
low listening levels, and never lets one It was a mightily impressive resonances very effectively while
part of the frequency range dominate. performance from a speaker that was leaving the port output unaffected.
Moon Safari’s mix is underpinned by funky clearly not designed for any one particular ‘The over-shoved bass driver
bass guitar playing, and genre of music – its innate idea was a lesson I learned during
it was conveyed here in a speed and transparency my 14 years working in pro sound.
lithe and snappy way with ‘We were making it an ace for They frequently use light cones and
absolutely no sense of the
cabinet joining in the fun.
greeted by a whatever you care to
play. Arguably, that new
high shove for efficiency, but I also
noticed there was often a subjective
Indeed the bass melts into lush Hammond D26k tweeter still lacks tightness to the bottom end which
the midband, which is itself the last drop of delicacy wasn’t found in the supposedly
highly translucent. It’s as if organ sound’ and sweetness that might ideal tunings of many hi-fi speakers.
you’re peering through a be achieved by the best Effectively we’re shifting some part
magic window; the dreamy keyboard sound ribbon transducers but, by dome standards, of the mechanical system into the
sitting behind a soft but lively rhythm track its treble sounds as airy and crisp as I might better-behaved filter components.’
while the drum machine’s hi-hat cymbals have wished for.
glint away at the back of the mix. It certainly didn’t hinder my enjoyment
of REM’s ‘Welcome To The Occupation’
MELLOW YELLOW [from Document; CBS/Sony CSCS 6085],
Continuing the mellow musical mood, the which sounded nigh-on faultless. This late
Lou Donaldson Quintet’s Aligator Bogaloo ’80s slice of indy-rock is quite compressed,
[TOCJ-9103] proved that a 1967 recording and packed with multiple guitar overdubs,
can sound just as, well, vivid as it modern but I was struck by just how well the big
counterparts. The big Giya 1S Spirits sitting Vivid picked its way through – like a hot
at one end of editor PM’s listening room knife through butter, it got right into
ensured this vintage mix shone with a the heart of the song and imparted that
wonderfully engaging and lustrous sound trademark raunchy Rickenbacker guitar
– typical of that era of classic BlueNote sound with great skill.
jazz. What greeted us was a fulsome, There was also far more detail than
lush Hammond organ sound – tightly expected, and it was all strung together in
syncopated with some great guitar playing a wonderfully coherent and orderly way.
from a young George Benson. The superb The Giya 1S Spirit is also in its element with
transient speed of the G1 Spirit was there powerful, bass heavy music with strong

JANUARY 2018 | www.hifinews.co.uk | 33

 MP 2500 R
The ultimate multi-source player

The MP 2500 R is the newest and most sophisticated Multi Source SACD player and
PCM / DSD DAC in our R-Series range. Its unique design philosophy makes it the perfect
device to reproduce virtually every imaginable digital source in total High-End quality.
With the addition of an FM / DAB tuner, Bluetooth interface and streaming client for
accessing music streaming services, the MP 2500 R really is the ultimate source. What
more could you possibly need?

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For more information or to arrange a demonstration for the MP 2500 R, please contact:
Kog Audio
PO Box 5260 · Coventry CV4 0GB
Office: +44 (0)24 7722 0650
Email: info@kogaudio.com
Web: www.kogaudio.com
 LAB
REPORT
VIVID AUDIO GIYA G1 SPIRIT
You’d expect a speaker the size of the Giya G1 Spirit to have high
sensitivity, and that is reinforced by Vivid’s 92dB specification.
LEFT: The mid/treble driver’s individual
But we recorded a pink noise figure all of 5dB lower at 86.9dB.
chambers are bolted through the back of In part this reflects the fact that Vivid has declined to eek out
the cabinet. External crossover connects maximum sensitivity through punishingly low impedance.
via a four-way terminal at the base Although the minimum of 3.1ohm doesn’t square well with the
6ohm nominal figure, this occurs at low frequency and, as Vivid
claims, where the impedance phase angle is low (we measured
no signs of strain, serving up a just 5.5o). As a result the minimum EPDR (equivalent peak
great groove that supported some dissipation resistance) of 1.9ohm occurs above the bass range at
prodigious dynamic contrasts. 261Hz and is higher than that of many high-end speakers, giving
the partnering amplifier an easier time.
The forward frequency response, measured at 1m on the
A GRAND ACOUSTIC axis of the upper tweeter [Graph 1, below] demonstrates an
The depth of the musical soundstage essentially flat trend to 4kHz, beyond which a gentle rise to a
developed by the G1 Spirit is also shelf at 14kHz has the effect of increasing the response errors
very impressive. So when the to ±3.0dB and ±2.8dB respectively – but these are good figures
which will be further improved by listening a little off-axis.
recording has a deep and spacious
Pair matching over the same 200Hz-20kHz is good at ±0.8dB.
acoustic, this loudspeaker can Measuring its bass response using the nearfield method was
effortlessly convey the ‘architecture’ complicated by two factors: the banana-like shape of the reflex
of the venue. For example, the ports (which makes it more difficult to determine their area) and
the curvaceous cabinet (which makes our diffraction correction
opening movement from Mahler’s
less certain). So our measured bass extension of 56Hz (–6dB re.
Symphony No 4 [Miah Persson/Ivan 200Hz) is subject to some uncertainty. More important is that
Fischer/Budapest Festival Orchestra; the roll-off below 70Hz is slow and easy to correct with a little
Channel Classics CCS SA 26109] did, boundary gain. Finally, the CSD waterfall [Graph 2, below] reveals
indeed, sound cathedral-like in its some mild treble resonances. KH
scale and scope.
As if the boundaries of the
listening room had been totally
redrawn, this speaker drew images
to the far left and right, and hung
the acoustic way back into the
distance beyond the plane of the
loudspeakers. Simultaneously, the
foreground bristled with the sound
of the orchestra’s lead instruments,
the ensemble sounding vibrant
and natural, unsullied by driver or
cabinet coloration. ABOVE: The Spirit’s forward response is flat through
The extended harmonics of brass bass and mid but shows a mild presence/treble lift
and strings were left completely
intact and possessed of a body and
richness rarely experienced from
loudspeakers at any price, while the
rich timbre of the woodwind was a
delight to behold. The Vivid Audio dB 0.0
Giya G1 Spirit is surely one the most -6 1.0
‘complete’ loudspeakers ever to - 12
2.0
grace the hi-fi scene. - 18
8
3.0
dynamics; here the integrity and - 24
4.0
inertness of the cabinet is most HI-FI NEWS VERDICT - 30

evident, along with the quality of 5.0 msec

This unusual looking loudspeaker 200 1000 10000
the drive units. The Congos’ ‘Days
Frequency in Hz >>
is exceptionally accomplished
Chasing Days’ [from Congo Ashanti; ABOVE: Lightweight sandwich cabinet looks fairly
in respect of power handling,
Congos CD 21522] is a classic slice inert but some mild treble resonances are visible
dynamics, midrange transparency
of late ’70s reggae – and a veritable
and stereo imaging while also HI-FI NEWS SPECIFICATIONS
virility test for a large loudspeaker, HI-FI NEWS SPECIFICATIONS
knitting everything together in a
on account of the incredible tracts
wonderfully cohesive and natural Sensitivity (SPL/1m/2.83Vrms – Mean/IEC/Music) 88.3dB/86.9dB/86.5dB
of bass that lock into a great groove
way. The result is a delightful Impedance modulus min/max (20Hz–20kHz) 3.1ohm @ 20Hz
with the drummer.
sound that yields so much 18.4ohm @ 1.6kHz
This speaker was able to mix it
more than the sum of its not Impedance phase min/max (20Hz–20kHz) –11o @ 11.2kHz
with the best of them, and even at
inconsiderable parts. It is surely 51o @ 457Hz
very high volumes in PM’s listening
one of the greatest speakers Pair matching/Response Error (200Hz–20kHz) ±0.8dB/ ±3.0dB/±2.8dB
room it coped heroically. Indeed I
currently on sale, at any price. LF/HF extension (–6dB ref 200Hz/10kHz) 56Hz / >40kHz/28.1kHz
was more worried about the fate
of the Ed’s double-glazing than the Sound Quality: 90% THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 0.2% / 0.2% / 0.1%
Spirit’s low frequency drivers. They 0 - - - - - - - - 100 Dimensions (HWD) 1600x440x820mm
grumbled and growled, yet showed

JANUARY 2018 | www.hifinews.co.uk | 35

 Integrated amplifier. Rated at 120W/8ohm
Made by: Luxman Corp., Japan
Supplied by: IAG (International Audio Group), UK
Telephone: 01480 447700
Web: www.iaguk.com; www.luxman.com
INTEGRATED AMPLIFIER Price: £8500

Luxman L-509X
The style may be ‘retro’, but this powerful integrated amp from a Far East legend is no
exercise in nostalgia: it lacks fashionable digital inputs, but has serious sonic appeal
Review: Andrew Everard Lab: Paul Miller
K, so it may help explain the insubstantial 29.3kg. At least the effort ‘preamp and power amps in one box’, with

O whole ‘vinyl revival’ thing, from

portable record players with
greater tracking weight than
a Caterpillar bulldozer to supermarket
own-brand LPs, but looking to the past will
gives you a reassuring sense of where all
your money’s gone, an impression that’s
reinforced when you have the amplifier in
place, connected up and switched on.
The star turn, as on all current
the two sections able to be split if required.
And at heart this is a very simple amplifier,
with none of that built-in DAC nonsense, let
alone a sniff of a Wi-Fi antenna or Ethernet
port – it’s resolutely analogue, with no
only get you so far. Forget all that longer Luxman amps, is the presence of the two more than four line-ins on RCA sockets
summers, colder winters and ‘jumpers for illuminated meters, placed exactly front plus two sets of balanced inputs, plus a
goalposts’ stuff: even nostalgia’s not what and centre, but the symmetrical layout of switchable MM/MC phono stage.
it used to be. Products must stand on their the substantial fascia is also highly pleasing,
own merits in today’s competitive market. as is the attention clearly paid to the feel HARD AS BRASS
and weighting of the controls. There may Record out and monitor sockets are
RESOLUTELY ANALOGUE not be the knowingly retro flip-switches of provided, along with pre-out/power amp
You see, there’s not exactly a shortage the wood-sleeved ‘Classic Series’ Luxman in – you could use the last of these to
of big-money integrated amplifiers out products, but even before you start using integrate the L-509X with an AV receiver
there, and launching the £8500 L-509X it in anger the L-509X has a sense of or processor – and there are two sets of
into that arena sees Luxman facing rivalry substance and total quality – luxe indeed. switched speaker outputs and a fascia
not only from other manufacturers, but The design here is very much classic headphone socket. The controls, though
also from within. After all, the company
has a handful of integrateds on its books,
all of which look somewhat similar at first
glance, distinguished only by the colour
of their meter illumination and price. The
designation echoes the original L-509fSE,
which first saw the light of day back in
2002 as an attempt to combine the virtues
of preamp and power amps in a single
chassis, while slightly confusingly there’s
already the similarly-numbered L-590AXII
[HFN Apr ’16].
Now we have the L-509X, and while
the basis is the same, this is a somewhat
different animal, with a claimed output of
120W/8ohm, rising to 240W/4ohm – not
that the L-590AXII proved exactly starved
of power when PM lab-tested that one,
delivering 95W/8ohm and 165W/4ohm. I
have to confess to being something of an
adherent to the maxim that a bit of extra
grunt never goes amiss when it comes to
the ease with which music is delivered, and
so it proves with this new Luxman.
A bit of extra grunt may also be what
you emit when called upon to unbox
and set up the L-509X for it weighs a not

RIGHT: Massive 600VA frame transformer feeds

mono power supplies and L/R audio stages, the
preamp featuring an 88-step LECUA volume
control feeding a three-stage parallel-output
power amp mounted on huge, finned heatsinks

36 | www.hifinews.co.uk | JANUARY 2018

there seem to be a lot of them on the volume and balance with a system directly ABOVE: Front panel is dominated by large
front panel (somewhat at odds with the connecting the substrate of the attenuator illuminated meters, in a design shared with all
‘input selector, volume control and that’s and amp circuits to reduce noise, and Luxman integrated amps. Symmetrical layout
it’ trend), are similarly simple. The input offering 88 steps of volume adjustment. places input selector to left and volume to right,
selector is one of the two beautifully Other claims for this design include greater with minor controls below the meters
precise knobs either side of those meters, resistance to the effects of vibration,
while the identical-sized adjustments enhanced accuracy across the volume independently rectified/regulated PSUs fed
arranged below allow MM/MC cartridge range, and long-term durability. from separate transformer windings – even
selection, record out, speaker switching This system is inherited from the the protection circuitry has its own supply.
and tone/balance controls, bypassable company’s C-900u flagship preamp [HFN The substantial 600VA transformer, Luxman
using the ‘Line Straight’ Sep ’15], as is the buffering says, is a ‘high inertia’ design ‘that does
button. Oh, and there’s circuit in the preamp not shake even under load fluctuations’.
a remote handset ‘The Mael section, designed for Well, that’s all good, then. The vibration-
provided [see p39], also
able to ‘drive’ a Luxman
brothers’ sound optimal drive of the power
amp stages. The output
resistance goes beyond that hefty, thick
panel work in evidence in the ventilation
disc player – and turn is an exercise in stage itself uses a push-pull grilles in the top panel, for rather than use
off the L-509X’s meter configuration equivalent fancy damping feet in exotic materials,
illumination too. studied chaos’ to that in the company’s the L-509X simply sits on massive cast-iron
The volume control M-700u power amp, and supports. Sometimes a little brute force is
bears the legend ‘LECUA’, which looks outputs through copper alloy terminals the best way!
like one of those meaningless Japanese said to have the conductivity of copper
terms, right up there with Acura, Regia and plus the hardness of brass. The switched SWEET AND EASY
Canter (the last of these an unfathomable connection to the output stages is via Not that there’s anything brutal about
designation for a range of trucks). In fact, high capacity/low resistance parallel relays the way this amplifier plays music. Give
LECUA is the Luxman Electric Controlled and thick copper wiring to maintain the it a while to settle down from cold – as
Ultimate Attenuator, here in its latest claimed high damping factor. The whole PM noted during his lab testing [p39],
LECUA 1000 version, which controls both plot is sustained via no fewer than six when set to play at a given output level
the meters kick up a bit after a while of
LUXMAN LEGEND running, at which point the L-509X can be
assumed to be cooking pretty well, and
The Luxman brand is one of Japan’s oldest, and almost from the start has prided good to go. And the immediate impression
itself on using in-house technology – a commercial imperative in the early days is that, while there’s no mistaking this for
of audio, but more recently to achieve the kind of quality for which its engineers an amplifier with anything less than ‘more
strive. Founded in 1925 in Osaka and still manufacturing in Yokohama, it began than sufficient’ power under the hood,
as a picture-framing company before branching out into radios as the Lux it sounds sweet, refined and entirely at
Corporation when broadcasts began in Japan. It achieved prominence from the ease, whatever the music you choose to
1970s onwards with its valve amplifiers, but in the mid-’80s was sold to Alpine play through it, and whichever source
Electronics, best-known for its in-car products, and the new owners decided to component you opt to use.
chase mass-market sales in major US retail chains. The fit was never an easy one It’s not quite a ‘take no prisoners’ ultra-
– the brand values somewhat at odds with each other – and eventually Luxman revealing amp of the brash and bright
reverted back to being a Japan-only brand, being sold off by Alpine just ten school, though the amount of information
years after it was bought. Since 2009, Luxman has been part of the IAG stable, it delivers is frequently breathtaking,
along with the likes of Quad and Wharfedale, where it has benefited from wider and it never leaves the listener with
distribution into a larger number of European countries, along with the USA. the sense that something’s missing. So
however big and rich the bass may be

JANUARY 2018 | www.hifinews.co.uk | 37

 LAB
REPORT
LUXMAN L-509X
Power meters are always fun to watch and, here, are ‘calibrated’
in dB relative to full output. In practice the red ‘0dB’ point is
pretty close to Luxman’s rated 120W/8ohm but, perhaps more
importantly, a 10W/8ohm output is indicated at –15dB when the
amplifier is cold and –10dB when it is warm... So treat the meters
as decoration rather than a precise measure of level! Precision
is the watchword in our lab reports, of course, and here it was
soon clear that while the L-509X might look almost identical to
the L-590AXII [HFN Apr ’16] its technical performance suggests a
merger of the brand’s C-700u/M-700u pre/power [HFN Sep ’15].
ABOVE: No digital or network connections here: just MM/MC phono, four line-ins on Indeed, where the former racked-up a full 2x145W and 2x250W
RCAs and two sets of XLRs, plus a good old-fashioned tape loop and pre-out/power into 8/4ohm, increasing to 165W, 315W and 551W into 8, 4 and
2ohm loads under dynamic conditions, the new L-509X delivers
amp inputs, with internal connection broken by front-panel ‘separate’ button a very similar 2x155W/8ohm and 2x255W/4ohm with a dynamic
183W, 342W and 507W into 8, 4 and 2ohm. With both the
it’s also entirely controlled, tight 538279612], can’t catch out. Yes, M-700u and L-509X, protection limits output to ~300W/1ohm or
and rhythmic as well as having the sound the Mael brothers deliver 16.7A [see Graph 1, below].
In similar fashion, the integrated L-509X has –1dB response
wonderful character. From the growl is an exercise in studied chaos,
limits of 3Hz-42kHz (–4.6dB/100kHz) while its 0.02ohm output
of orchestral double-basses in a but even those falsetto’ish vocals impedance, rising to 0.05ohm/20kHz and 0.43ohm/100kHz still
spot of Wagner from the excellent are clearly audible in a track like encourages a slightly earlier roll-off into tougher loads. Distortion
overview of the composer’s work ‘So Tell Me Mrs Lincoln Aside From is also very low at <0.002% from 20Hz-1kHz before rising gently
to 0.03%/20kHz (all at 10W/8ohm). Where the L-509X scores,
by Iván Fischer and his Budapest That How Was The Play?’, which
however, is in maintaining this distortion trend with increasing
Festival Orchestra [Channel Classics is every bit as bonkers as the title output, so THD is 0.0025% at 1kHz/1W, 0.0026% at 100W and
CCS SA 32713; DSD64], all the way suggests. It may not be quite what 0.0034% at the rated 120W. Meanwhile, bearing in mind its high
through to the snap and punch the Luxman engineers had in mind +43.4dB overall gain (balanced input), the A-wtd S/N ratio is a
of Kyle Eastwood’s instruments when they designed the L-509X but solid 86dB (re. 0dBW) while separation is >80dB midband. PM
on his recent In Transit set [Jazz the fact it works so well shows that
Village JV570146; 44.1kHz/24-bit their amplifier has wide-ranging
download], this is an amplifier fully capabilities beyond the breathy jazz
able to convey instrumental textures of so many hi-fi demonstrations.
and techniques. That said, when you do treat
What’s more, while the brass it to a demonstration-quality
duo leading several of the Eastwood recording, such as Classical Opera’s
tracks can sound overly aggressive lovely set of Mozart’s Il Sogno di
via some amps, the L-509X conveys Scipione [Signum Classics SIGCD499,
them in fluid, attractive fashion 96kHz/24-bit], the LX-509X’s warmth
without blunting either their and vitality come together to
breathiness or the metallic edge to create a truly exciting presentation,
the sound. In other words, it does the soundstage broad, deep and ABOVE: Dynamic power output versus distortion into
excitement to spellbinding effect – detailed, the presence and ambience 8ohm (black trace), 4ohm (red), 2ohm (blue) and
just without the irritation. Even with almost uncanny, and the dynamics 1ohm (green) speaker loads. Max. current is 16.7A
a really dense mix, such as some of so wide open that one could easily
those on Squeeze’s The Knowledge forget all the machinery involved
[Love Records LVRCD004], this between performance and the
amplifier manages the impressive listening experience. This amplifier
task of delivering the big, majestic is no mere exercise in rose-tinted
wash of sound while still allowing nostalgia, and needs none of those
the usual masterful lyrics and the ‘ah, but in those days...’ excuses to
individual instruments due clarity. be made. It’s simply special.

NO EXCUSES NEEDED HI-FI NEWS VERDICT

The L-509X rewards both ‘lean back’
Big, rich, sweet and totally
and ‘lean forward’ listening, not least ABOVE: Distortion versus extended frequency at
controlled: sounds like something
because it always seems entirely 10W/8ohm, 5Hz-40kHz (left, black; right, red)
of a soft listen, doesn’t it? Yet
in control of the speakers, with no
the truth is that the L-509X is all
sense of speed-impeding smear or HI-FI NEWS SPECIFICATIONS
of the above in a good way, and
overhang. Notes start sharply and
none of those in a bad: it simply Power output (<1% THD, 8/4ohm) 155W / 255W
decay realistically, giving a sound
conveys the music in a manner
that’s both immediate and delivered Dynamic power (<1% THD, 8/4/2/1ohm) 183W / 342W / 507W / 278W
that always seems exactly as it
with real presence. It’s a sound that Output impedance (20Hz–20kHz) 0.021–0.052ohm
should. Don’t look at the styling
even the wilful mayhem of the latest
and expect all those clichés Freq. resp. (20Hz–20kHz/100kHz) +0.0dB to –0.28dB/–4.55dB
Sparks set, Hippopotamus [BMG
of amplifiers of yore – this is a Input sensitivity (for 0dBW/120W) 19mV / 212mV (balanced)
bang up to date design, in both A-wtd S/N ratio (re. 0dBW/120W) 85.9dB / 106.7dB
engineering and sound.
Distortion (20Hz-20kHz, 10W/8ohm) 0.0024–0.033%
Sound Quality: 85% Power consumption (Idle/Rated o/p) 102W / 440W (2W standby)
0 - - - - - - - - 100 Dimensions (WHD) / Weight 440x103x463mm / 29.3kg

JANUARY 2018 | www.hifinews.co.uk | 39

 Belt-driven turntable with electronic speed control
Made by: Pro-Ject Audio Systems, Austria
Supplied by: Henley Designs Ltd, UK
Telephone: 01235 511166
Web: www.project-audio.com; www.henleydesigns.co.uk
TURNTABLE Price: £6500 (inc. arm and cartridge)

Pro-Ject 175 Vienna

Philharmonic Recordplayer
Limited to just 175 pieces, this luxuriously-appointed version of Pro-Ject’s ‘The Classic’
turntable is offered in celebration of the VPO. Is this gilding the lily or musical gold?
Review: Nick Tate Lab: Paul Miller
orget concept albums, for this is to the underside. The top plate sits inside same as the Classic’s, but the subplatter is

F a ‘concept turntable’ – a striking

looking record player that, at
first sight, might seem rather
‘Trump Tower’, and perhaps aesthetically
overpowering for conservative European
this plinth, resting on six Thermo Plastic
Elastomer (TPE) balls that take the place of
springs used in older decks. The top plate,
which also holds the bearing and arm
mount, is effectively ‘double-decoupled’
made out of aluminium instead of plastic,
cut on CNC machines with diamond
heads. The bearing has been beefed up to
accommodate the heavier platter, as you
would expect.
eyes. Put your sunglasses on however, from whatever the turntable is sitting on.
and all becomes clear as the VPO logo Pro-Ject has garnished The Classic with BESPOKE PICK-UP
engraved into the lower right hand corner all sorts of delights for the 175 Vienna The tonearm is an arresting-looking
of the top plate is revealed. For this is a including two plinth colour options, device – both large and shiny, it has a very
special commemorative product, a plush Dark Cello or Bright Violin. At the back of high effective mass that precludes its use
limited edition version of Pro-Ject’s The the turntable is a plaque with the serial with high compliance MMs [see PM’s Lab
Classic turntable [HFN Aug ’16], made to number and the name of the owner. Every Report, p43]. Audiophiles hankering to
celebrate one-and-three-quarter centuries deck is produced by hand over a two- use their old Shure V15s again should look
of the Vienna Philharmonic Orchestra [see month period and ships in premium wood elsewhere... Made from hand-polished
boxout, facing page]. boxes; the accessories are also delivered in aluminium, the arm sports rugged cardan
an exclusive wood casket. bearings and includes an Amati brass
DOUBLE DECOUPLED The top plate is a sandwich of MDF and headshell with white brass fingerlift. The
Its wooden plinth and lacquer is said 3mm polished brass protected by a high supplied cartridge is bespoke, crafted
to correspond to that of a violin, while gloss transparent paint. The platter is the together with Ortofon’s chief engineer
the gilded metal top plate signifies
the brass instruments of the orchestra.
The tonearm’s finger lift comes from
a clarinet flap, and the speed changer
from a flute button. The 175 Vienna
Philharmonic Recordplayer (for that is its
official appellation, even though Pro-Ject’s
Heinz Lichtenegger has offered shorter
alternatives) costs £6500 including
tonearm and cartridge. Be quick though,
classical music fans, because only 175
pieces are being made!
It is fitting that Pro-Ject chose The
Classic for the base of this limited edition.
This is – as the name suggests – an homage
to the old Thorens-style belt-drive decks
that powered hi-fi systems of yore, some
40 or so years ago. It’s not a fancy ‘high
tech’ exoskeleton design, and instead relies
on a modern makeover of an old idea.
The Classic’s plinth is (as noted) wood, to
which damped adjustable feet are affixed

RIGHT: The polished gold-coloured top plate

and lacquered chassis are inspired by musical
instruments. No arm securing clip is required,
due to the rest’s inbuilt magnetic restraint

40 | www.hifinews.co.uk | JANUARY 2018

Leif Johannsen, using various components quality of its isolation from external ABOVE: Electronic speed switching has been
from the Cadenza line. Heinz says it uses vibrations. Perhaps the 175 Vienna will added to the 175 along with a brightly polished
a unique alloy body, with the aim of not achieve the isolation offered by an S-shaped tonearm that comes fitted with an
getting a very smooth performance ‘which independently-sprung subchassis design Ortofon Cadenza-derived MC pick-up
represents the famously soft sound of the but it is surely better than most non-sprung
Vienna Philharmonic strings’, no less. types. You’ll still need to position it on a clarity and sense of confidence, for this
The 175 Vienna’s arm feels silky smooth good equipment rack or table to help it is not some quaint blast from the past
to use (when you get used to hand-cueing resist the ‘vibes’ that colour the sound, that sounds like a golden oldie. Instead it
with part of a clarinet!), and there’s a but the upside is that with no wobbly proved an incisive, balanced and enjoyable
quality feel to the 13kg subchassis the deck feels music-making companion that keeps the
motor unit. Still, there are stable and is easy to hand- nostalgia trip confined to its appearance.
some details that let the ‘No quaint blast cue, and also easier to set This isn’t to say it is faultless, but few
side down. For example,
the surfacing of the top
from the past, up too. The 175 Vienna is
nicely presented, coming
turntables are perfect even at this price.
One of my favourite modern jazz tracks
plate on our review sample nor sounds like complete with a record is ‘Bronstein’ by Fractals [Fractals; Surface
was less than flawless clamp, leather pad, dust Records SUR 001], from 1986, and it is
and the lacquer on the a golden oldie’ cover, high-end phono beautifully captured by the standards of
plinth was far from musical cable and precision its day. The 175 Vienna communicated
instrument-quality. This adds to the sense scale. You can have it out of the crate and this fact in no uncertain terms, serving up
that this turntable is quaintly hand-made, running in mere minutes. a large recorded acoustic that went wide
rather than an immaculate product from a and deep. Inside this, there was a surprising
highly automated factory – eg, the latest SPACE AND PACE degree of detail and really rather good
Technics SL-1200GR [HFN Nov ’17]. While the 175 Vienna’s shiny bits may focus too.
Unless a deck is deployed floating visually hark back to the ‘good old days’, It wasn’t quite achieved with the laser
in a vacuum, the performance of most in practice it sounds bang up-to-date. precision of an SME 10, admittedly, but still
turntables is ultimately limited by the I was surprised by the obvious stability, sounded revealing in a smooth sort of way.
There was great space to the sound, with
VIENNA PHILHARMONIC some beautifully etched acoustic guitar
work located smartly in the centre. At the
As 2018 starts, many HFN readers will be settling down to watch the televised same time, the distinctive (and now rather
New Year Day Concert from the splendid Musikverein Golden Hall (built 1870) dated) fretless bass guitar was powerfully
and the Vienna Philharmonic in its festive programme – mainly Strauss family carried, strongly underpinning the track.
related pieces nowadays. This year, Riccardo Muti will conduct. It’s a tradition This bass was taut and supple too, while
that dates back to the time of Clemens Krauss in the 1930s, who later simulated never becoming overblown.
these concerts on early Decca LPs.
The history of the VPO itself, though, dates back to 1842 when a group of AND FUNKY TOO...
four men, one the composer Nicolai, determined that an independent symphony A quick sashay over to some classic jazz
orchestra drawn from players at the Vienna Hotoper should be formed. Its first funk, and it was clear to hear that the
permanent conductor Otto Dessoff was ultimately forced out by intrigue – the 175 Vienna is quite an animated music
VPO has long been a hotbed of dissent, as Gustav Mahler soon discovered, when maker. Light Of The World’s ‘Time’ [Round
appointed in 1898. However, since 1933 the VPO has developed, without any Trip; Ensign ENVY 14] came over in an
conventional ‘principal conductor’ appointment, into one of Europe’s finest engagingly propulsive way. True, I have
orchestras. Until 2003 women were excluded from being VPO members (before heard this track carried more convincingly,
that a female harpist appeared uncredited) and recruits have to undergo a yet still this deck went hard to work
probationary period with the Vienna State Opera before taking auditions to join. conveying the subtle counterpoint
It runs under a system of Democratic Self-Administration. CB between the bass guitar, rhythm guitar
and percussion. It’s a pacy-sounding player,

JANUARY 2018 | www.hifinews.co.uk | 41

1HZ)ODJVKLS,QWHJUDWHG$PSOL¿HU





  



 





 
 LAB
REPORT
175 VIENNA PHILHARMONIC
While the bare bones of this limited edition deck are culled from
Pro-Ject’s ‘The Classic’ turntable [HFN Aug ’16], the wooden
chassis, alloy platter and – particularly – the stainless steel/
bronze bearing look to have been enhanced. For example, while
the same AC motor drives the platter up to speed over a slightly
longer 5secs, and the absolute speed is still an imperceptible
–0.16% slow, its wow and flutter – its dynamic speed stability – is
markedly improved at 0.02% and 0.03%, respectively [see Graph
1, below]. Through-bearing rumble is also 2dB improved at
–73.0dB (DIN-B wtd) with the Vienna deck, although this model
ABOVE: The 175 Vienna Philharmonic tonearm’s leads terminate in a connection did betray a discrete mode at 41Hz in its rumble spectrum.
box at the rear of the unit with an earthing post between. The supplied lid fits over The partnering S-shaped 9in tonearm is heavily chromed
and features a magnetic insert halfway along its length, plus
the hinges shown – these are friction types that will keep it open at any desired angle a polished brass headshell with a ‘clarinet flap’ fingerlift. So
perhaps the whopping 25g effective mass should come as no
far less sedate-sounding than looks expansive sounding manner, the great surprise... What this does suggest, however, is that only
suggest, and the taut yet supple turntable capturing the nuances of low compliance MCs are really suited to this tonearm – even
the supplied 11g Cadenza-derived MC, with its 16cu dynamic
low end is allied to loads of detail this classic recording without a care
compliance, realised a low 6.5Hz arm/cartridge resonance. An
in the midband. So rather than in the world. Kraftwerk’s ‘Techno Audio Note Io would make a better, if costlier, partner!
giving a nostalgic, opaque, rose- Pop’ [Electric Café; 064-24 06541] Otherwise, S-shaped arm tubes typically exhibit a complex
tinted rendition of the music, this is a seminal slice of ’80s electronica series of bending and torsional modes and Pro-Ject’s heavyweight
is no different. There is a diffuse main bending mode at 65Hz
turntable digs down into the detail and sounded taut and tight with fine
followed by a series of other modes, possibly harmonics, at
and hammers out an enjoyably detail rendition. 260Hz, 330Hz and 410Hz [see Graph 2]. The high-Q modes at
catchy rendition. True, there is a hint However, the real treat was with 800Hz/1kHz look to be associated with that fingerlift but it’ll be
of warmth, but who wants vinyl to classical music – which absolutely passing footfall and rippled LPs that must be guarded against to
sound so devoid of character that it flies on a serious vinyl-spinner. Elgar’s avoid exciting the arm/cartridge resonance. PM
might as well be ‘bad digital’? Cello Concerto [Jacqueline du Pré,
Philadelphia Orch/Daniel Barenboim;
TACTILE SAX CBS Masterworks 76529] was a
There’s something special about delight. The turntable told me that
hearing jazz music on vinyl – many while this is no hi-fi demo recording,
folk still don’t think digital can do du Pré is still a prodigious talent.
it justice, and you remember why
when you hear the genre on a IS IT LIVE?
serious analogue source. Cannonball It really locked into the emotional
Adderly’s ‘Autumn Leaves’ [Somethin’ force of the music, showing her
Else; Blue Note 1595] is a seminal beautiful dynamic accenting and
slice of early-’60s musicianship, and nuanced playing. The cello was
here the 175 Vienna proved to be pleasingly expressive, while here ABOVE: Wow and flutter re. 3150Hz tone at 5cm/sec
in its element. Despite its issues, the the 175 Vienna also pulled off the (plotted ±150Hz, 5Hz per minor division)
tonearm tracked securely with its ‘hi-fi’ aspects too where there was
matching special-edition cartridge, a deep, inviting timbre to stringed
indeed, rather flattering the latter. instruments, and they were placed
This tuned-Cadenza MC was perfectly in space. It was fascinating
well able to show off this sublime to be able to hear right to the back
recording, with a pleasing vibrancy of the recorded acoustic too, right
to the instruments. Adderly’s alto down to the sound of incidental
sax was delightfully raspy, sounding coughing. Just as you might
eerily tactile in a world where experience hearing the VPO live...
we’re often used to rather two-
dimensional facsimiles. Amidst HI-FI NEWS VERDICT
a torrent of harmonics, it gave a
One never tires of the Pro-Ject
delightfully live and vibrant feel. ABOVE: Cumulative tonearm resonant decay
175 Vienna’s crisp, detailed
Miles Davis’ trumpet was a treat too spectrum, illustrating various bearing, pillar and ‘tube’
and engaging nature – and the
– lustrous and sparkling, yet ‘earthy’ vibration modes spanning 100Hz-10kHz over 40msec
fact that it’s so even-handed
and organic, it gave the feel of a live
regardless of the music you play. HI-FI NEWS SPECIFICATIONS
instrument being played. Behind this HI-FI NEWS SPECIFICATIONS
It is a distinctive and modern-
the stable, secure drum work kept
sounding turntable solution with Turntable speed error at 33.33rpm 33.28rpm (–0.16%)
pace efficiently and in an orderly
one simple mission in life: to have
way. Cymbal playing was another Time to audible stabilisation 5sec
fun. Yes, there are some question
highlight – sparkling and glistening Peak Wow/Flutter 0.02% / 0.03%
marks about its finish and the
like real ringing, metallic objects in
high mass of the tonearm, but Rumble (silent groove, DIN B wtd) –68.4dB
the room.
the package breezily exceeds the Rumble (through bearing, DIN B wtd) –73.0dB
I ran the gamut of my record
sum of its parts.
collection, including the classic rock Hum & Noise (unwtd, rel. to 5cm/sec) –62.2dB

of Fleetwood Mac’s ‘Don’t Stop’ Sound Quality: 85% Power Consumption 2-3W
[Rumours; Warner Bros P-10233W] 0 - - - - - - - - 100 Dimensions (WHD) / Weight 462x131x351mm / 13kg
which was delivered in a fast yet

JANUARY 2018 | www.hifinews.co.uk | 43

 All-in-one storage/playback amplifier. Rated at 60W/8ohm
Made by: Entotem Ltd, T/A Convert Technologies, Derby
Supplied by: Convert Technologies
Telephone: 01332 291972
Web: www.convert-av.com
ALL-IN-ONE SOLUTION Price: £10,000

Convert Technologies Tempus

Take the highly flexible Plato media store/player and add to it technical and styling
enhancements, and you have the Tempus – but is it all about the sound, or the bling?
Review: Andrew Everard Lab: Paul Miller
usic storage and streaming is function not just as an all-in-one solution, just a blinged-up Plato. Nevertheless,

M big business, with a general

consensus that we’re moving
away from ‘physical media’ –
CDs, DVDs and the like – and into content
that’s either summoned up from a home
but also as a hub for other entertainment
devices. That’s a theme running
throughout the Convert Technologies
range, and is understandable given that the
company’s roots are in storage and data-
the first thing you notice is the choice of
finishes, the Tempus being ‘finely crafted
from the materials found within luxury
Bentley motors... with a choice of carbon
fibre or real wood finishes to complement
server or even pulled down in real-time management. As well as the Plato/Tempus its brushed aluminium frame’.
from cloud storage. Most of the established range, it also has the recently announced
names in hi-fi now have a dog in this fight – Nexus range of Omnis streaming preamp, DEEPLY IMPRESSIVE
and some a whole pack of hounds – but the Gravitas streaming DAC and Nucleus Under the substantial aluminium lid is a
trend has also seen new names entering streamer, all able to both play connected choice of hard-drive capacities – 1TB or
the fray, of which one of the more notable content or stream it out to other UPnP 2TB in either HDD or SSD form – with the
arrivals has been Convert Technologies. players on the same network. option of connecting external hard drives
That’s all part of the company’s plan to increase that capacity and to allow
SMART HOME PROVIDER to move itself on from hi-fi to a more incremental back-ups of the content stored
In short, Convert who? Well, the company connected ‘smart home’ provider, and fill on the unit. This USB input provision also
slightly muddied its impact by rebranding the niche it feels exists between current permits the connection of the disc drive
just as it was getting well-known, arriving multiroom audio solutions and expensive supplied with the Tempus (used for ripping
on the scene as Entotem, with its Plato custom-installed distribution systems. to the hard drive) while an Android tablet
ripper/store/playback system, which So what sets this new upmarket Tempus is also provided to control the Tempus,
spawned a number of variants of varying model apart from its Plato predecessors? allowing the operating system of the unit
functionality, from source component to Convert says that while there’s a clear to be mirrored at the listening position.
‘just add speakers’ complete unit. Now, visual resemblance, much has changed, Audio files can be stored at up to
just as Plato has become well known, it making this a distinct model rather than 192kHz/24-bit, with 1080p video also
launches the Tempus – an upscale version
of the same concept with luxury finishes,
enhanced design and specification... and a
£10,000 price tag.
That’s quite a leap from the range to
date, which starts with the sub-£2000
Plato Lite and goes up to the £4000+ Class
A version [HFN Jan ’17]. The functionality
of the new unit is similar to that of the
other models in the range, encompassing
as it does the ability to rip content – both
audio and video – from discs or external
sources, including MC and MM phono. It
also includes internal storage in a range
of hard drive and solid-state capacities,
remote control via an app and a connected
TV screen, and built-in amplification as well
as line/variable outputs.
It’s all housed in a product rather
narrower than the hi-fi convention, at
around 37cm wide, and designed to

RIGHT: The operational heart of the Tempus

is a tablet PC but this is supplemented by an
additional (ESS-based) DAC board and a power
amp with relay-switched volume, all powered
from substantial linear and switchmode PSUs

44 | www.hifinews.co.uk | JANUARY 2018

supported. While this will be more than experience, with a high level of intelligence ABOVE: In keeping with its stylish approach,
enough for most users’ needs, things have brought to bear in allowing the user to play the Tempus has nothing much on show beyond
moved on in both audio and video ‘must music and then have the system construct its main display panel, which can be mirrored to
have’ circles, and some will hanker for DSD suitable playlists. Audio conversion is in a TV screen or the supplied Android tablet
audio and 4K video capability. Similarly that the hands of a familiar ESS Sabre DAC, and
2TB maximum capacity there’s a direct-coupled plus a large, bright display and Class A
might begin to look a bit signal path from here to amplification means the Tempus generates
measly for those of us with ‘It fills very well the speaker terminals. quite a bit of heat, and so the designers
our growing hi-resolution
music libraries...
the role of a The amplification
operates in Class A for
have come up with a custom heatsink
extrusion and larger heatpipes to channel
The Tempus is also magic box that the first 10W or so of that surplus energy away. Operationally
compatible with Qobuz, its 60W rated output the Tempus follows the brand’s tried-and-
Spotify and Tidal streaming sits on display’ while the PSU is also an tested Plato model that’s both intuitive and
services, plus Internet in-house design providing highly flexible.
radio, the same connection also supporting separate supplies for the analogue and With both a screen and speaker
the Gracenote library look-up for ripped digital sections of the unit, along with connected you can just flip from pictures
content, even when that music is coming a dual mono layout of rectifiers and to music to video as the whim takes you,
from analogue LPs. The Convert platform’s smoothing caps to match the topology of or indeed soundtrack your holiday snaps
ability to recognise and tag even quite the amplification itself. with your favourite music. Yes, you could
obscure albums is deeply impressive, as Moreover, a linear supply is used when do much the same with a computer and a
is the configurability of the phono stage the Tempus is either playing or recording few other bits and pieces – like a DAC and
with its software adjustments for cartridge music, but reverts to a switch mode an amplifier – hooked into your system, but
gain and loading. Impressive, too, is the PSU when used as a streamer/file-server. it’s unlikely operating that set-up would be
attention clearly paid to the playback Of course all that processing power as simple as this.
Very little familiarisation is needed to
A SMARTER FUTURE find your way around the menu system
here, thanks to some clever programming
Convert Technologies has plans way beyond the traditional hi-fi and AV markets, on the part of the Convert team, and one
believing that consumers are ready to embrace the Smart Home concept, but could easily see this as being a perfect
get baffled when they have to think about routers, cabling and the like. Senior main system for the well-heeled. Indeed it
marketing manager Ben Timberley said recently ‘You start talking Wi-Fi or fills very well the role of a magic box that
UPnP to people and you can see their eyes glaze over,’ and added that ‘There’s sits on display – with those looks it would
definitely a gap in the market and we’re doing our best to start moving in that be a pity to hide it away – and delivers the
direction. We’ve got a system that will allow that to happen – it means that whole family’s entertainment while being
for £5000 to £6000 you can have a complete set-up in your house that does AV simple enough for anyone to use. Which
in every room. You’ll have units and you’ll have to connect them via a wireless I’d hazard a guess is exactly what the
router, but it will work and it will do most of what a high-end system will do.’ designers intended.
The company is also moving in this direction with the launch of two apps
designed to interface users’ music collections with handheld devices. Its ‘Vinyl ALL-IN-ONE CAPABILITY
Recorder’ allows a USB turntable to be connected to a smartphone or tablet, And the sound? Well, it’s very good indeed
and rips music in AAC, WAV or FLAC, while its ‘CD Ripper’ for Android will – for a system of this kind. I used it in a
perform a similar function when used with an inexpensive USB disc drive. variety of ways – straight into speakers,
as a preamp into a separate power amp

JANUARY 2018 | www.hifinews.co.uk | 45

 LAB
REPORT
ALL-IN-ONE SOLUTION CONVERT TECHNOLOGIES TEMPUS
With volume and gain trims set to ‘0dB’ the Tempus’s overall
gain is 28.5dB, with an extra +12dB available. Here the A-wtd
S/N ratio is a very wide 99dB (re. 0dBW) and distortion a very
low 0.0002–0.003% (20Hz-20kHz at 10W). Versus output,
distortion is a very consistent 0.0002-0.0004% from 1W-60W
through the midrange. All these figures are broadly consistent
with those obtained for the original Plato model [HFN Jan ’17],
as is the extended analogue response which still shows a slight
upper treble lift of +0.3dB/20kHz, falling to just –1.4dB/100kHz.
Convert Technologies has increased the Tempus’s rating to 60W/
8ohm and while it’s possible to indicate the ‘speaker load’ in the
server settings menu, the ‘8ohm’ or ‘4ohm’ options make no real
difference to the available power output into 8 or 4ohm loads. In
practice it is capable of a generous 2x72W/8ohm and 2x117W/
4ohm with 87W, 160W, 265W and 170W (13A) under dynamic
conditions into 8, 4, 2 and 1ohm loads [see Graph 1, below].
While the first generation Plato used a Wolfson DAC with a
very slow roll-off digital filter, the Tempus employs an ESS9018
DAC with a more conventional higher-order filter. This shows
ABOVE: The Tempus has an onboard amplifier and 4mm speaker binding posts pre and post-ringing on impulses but offers a superior >110dB
served by one phono and three line ins (on RCAs), three optical and one coax S/PDIF stopband rejection. With CD sources there’s a brickwall cut-off
digital input plus HDMI out and USB/network ports for connecting external storage amounting to –14dB/20dB, but this relaxes to –1.3dB/20kHz
with 48kHz media and –2.5dB/40kHz to –25dB/45kHz with
96kHz media. The A-wtd S/N is an impressive 109dB (pre out
and as a pure source component to that sort of level to worry all that volume set to 2V or ‘73’) and distortion a very low 0.00007–
– and while it’s unlikely to put the much about the absolute niceties of 0.0005% (20Hz-20kHz, 0dBFs) but while correlated jitter
frighteners on any of the established the sound. is <10psec, analysis clearly shows a considerable noise-like
high-end network players out there, Pull back to the excellent 2016 (possibly phase noise) uncorrelated jitter [see Graph 2]. PM
one has to take into account that hi-res release of The Complete Trio
they’re all much simpler, and less Collection [Rhino 081227954086,
flexible, devices. Yes, you could stack 96kHz/24-bit] and the purity and
up, say, the likes of a Naim NDX, smoothness of the Tempus sound is
a Melco server and your choice of much in evidence, bringing out the
amplification, and while that little character of the voices of Harris,
lot would show the Tempus a clean Parton and Ronstadt and unpicking
pair of heels on sonic grounds, it the harmonies rather well while
would neither have the visual appeal revelling in both the quality of the
nor even scratch the surface of the recordings and the musicianship.
capabilities of this all-in-one system. It will even rock out with gusto
if you really must, although I must
RUMBLING THE ROOM admit there was an element of ABOVE: Dynamic power output versus distortion into
Disengaging my hi-fi reviewer brain devil’s advocate in loading up the 8ohm (black trace), 4ohm (red), 2ohm (blue) and
for a moment and viewing the growl of Motörhead’s Under Cöver 1ohm (green) speaker loads. Max. current is 13.0A
Tempus through the eyes of the kind set [Silver Lining SLM083P01] just to
of person to whom a system like this see what the Tempus would do. Let’s
would appeal, it’s not hard to see, just say it ‘fugited’ like crazy and was
or indeed hear, just how attractive something of a hoot, even though
it would be. The sound is warm, I’m not too sure this is the kind of
rich and very detailed, rumbling music likely to be played too often in
the room with the remixes from the kind of places this system is likely
the latest David Bowie set, A New to be seen...
Career In A New Town [Parlophone,
96kHz/24-bit] while at the same HI-FI NEWS VERDICT
time letting all the nuances of the
Having spent a while with the
dark electronica of, say, ‘Neukoln’ ABOVE: High resolution (zoomed) jitter spectrum with
Tempus, I think I now understand
shine through. And while I’m still 24-bit/48kHz data (typ. ESS DAC, black; Tempus, red)
whom it’s for, and how well
not sure about the new Tony
it’ll suit its target market. In
Visconti mix of Lodger [see Meet The HI-FI NEWS SPECIFICATIONS
absolute terms the sound – while
Producers, HFN Dec ’16], it’s hard to
impressive enough – could be Continuous power (<1% THD, 8/4ohm) 72W / 117W
argue that this entire box set doesn’t
bettered for this kind of money:
sound superb, something the weight Dynamic power (<1% THD, 8/4/2/1ohm) 87W / 160W / 265W / 170W
a well-sorted separates system
of the Tempus plays to very well. Output impedance (20Hz–20kHz) 0.034–0.055ohm (<1ohm, pre)
at this level would deliver better
True, the sound does harden up
imaging, drive and all the other Freq. resp. (20Hz–20kHz/100kHz) –0.0 to +0.3dB/–1.4dB (line in)
when you crank the volume high,
clever hi-fi things. But it wouldn’t Freq. resp. (48kHz to 192kHz digital) –1.3dB/20kHz to –17dB/90kHz
with an almost literal change of
be as stylish (if you like that sort A-wtd S/N ratio (re. 0dBW/0dBFs) 99.6dB (Analogue) / 109.1dB (Dig)
gear when it tips over from cruising
of thing), flexible or easy to use.
to charging hard, but even then Distortion (20Hz-20kHz; 0dBW/0dBFs) 0.0002–0.003%/0.00007–0.0005%
the sound is both enjoyable and Sound Quality: 78% Power consumption (idle/rated o/p) 44W / 212W (2W standby)
controlled, and of course you’re too 0 - - - - - - - - 100
Dimensions (WHD) / Weight 370x140x300mm / 15kg
busy partying by the time you get

JANUARY 2018 | www.hifinews.co.uk | 47

 Floorstanding three-way loudspeaker
Manufactured by: Focal-JMlab, France
Supplied by: Focal-JMlab UK Ltd, Salisbury
Telephone: 0845 660 2680
Web: www.focal.com
LOUDSPEAKER Price: £6999

o
Focal Kanta N 2
A new range combines Focal’s traditional performance
values with a more relaxed – and colourful – design
Review: Cliff Joseph Lab: Keith Howard
ased in Saint-Étienne, the saving as much space as possible within

B company’s resolutely ‘made in

France’ philosophy has led Focal
to develop a number of its own
acoustic technologies and designs, and
even to use locally grown materials in the
the compact speaker cabinet.
Mounted at the top of the speaker, just
above the tweeter, is a 165mm midrange
driver, while two similar 165mm bass
drivers occupy the bulk of the cabinet
manufacture of its speakers. And now the below. The mid and bass drivers all share
company is continuing that no-compromise Focal’s ‘F-cone’ design, which uses two
approach with its Kanta No2, the first in a layers of rigid glass fibre to enclose a thin
new range of compact loudspeakers. layer of flax – grown locally in France, of
course, and providing damping properties
EYE-CATCHING equivalent to synthetic materials such
Priced at £6999 per pair, the Kanta No2 as Kevlar. The midrange driver also uses
combines a number of Focal’s proprietary Focal’s TMD (Tuned Mass Damping)
technologies in a new, more streamlined suspension system that we described in
design that, perhaps, reflects a slight our review of the Sopra No2 floorstanders
mellowing in the company’s approach. [HFN Sep ’15]. The EISA Award-winning
Having previously Sopra speakers also
proclaimed that it would introduced Focal’s
tolerate ‘no sacrifice ‘It surely felt as NIC motors (Neutral
of performance to
aesthetics’, Focal now
though his world Inductance Circuit),
which are again used
admits that its new Kanta
speakers are intended
was spinning in the Kanta No2 to
optimise the field
to be a little easier on out of control’ within the magnet
the eye, offering a softer assemblies and
design in which ‘performance meets style’. enhance output from the bass drivers.
It’s certainly a contrast from the almost Finally, the lower section of the cabinet
threatening stolidity of Focal’s flagship also houses front and rear ports by way
Utopia range. Yet the compact design of of tuning the bass response.
the Kanta No2 is eye-catching enough, with
the cabinets at 1118x321x477mm (hwd), BAFFLE INNOVATIONS
and with Focal’s designers having gone to Even the baffle design required an
town with a range of colours that would innovative approach, according to
satisfy the most temperamental of interior Focal. In order to reduce the volume of
designers [see boxout, facing page]. the bass cabinet without undermining
Of course, this is no volte-face and so performance, Focal’s engineers developed
Focal has diligently refined many of its a new form of inert, high-density polymer
existing components and technologies in (HDP), which it claims is 70% denser than
order to avoid compromising performance conventional MDF, as well as providing
with this smaller enclosure. Focal is also 25% greater damping and increased
one of the few companies to work with rigidity (a mere 15%). The smooth edges
beryllium (very light, very stiff but with the of the baffle are designed to reduce
risk of toxicity during manufacture), having diffraction, while the angled profile –
developed an inverted dome tweeter for inspired by the Utopia and Sopra ranges
the Utopia range, and it has updated that
design for the 27mm IAL3 tweeter used RIGHT: Focal’s curved (time-aligned) baffle
in the Kanta No2. This employ’s Focal’s IAL is fashioned from a high-density polymer and
(Infinite Acoustic Loading) and IHL (Infinite hosts two bass/mid and one dedicated mid
Horn Loading) techniques to absorb rear driver with glass fibre/flax laminate cones. The
radiation from the tweeter, while also inverted treble dome is a Focal beryllium unit

48 | www.hifinews.co.uk | JANUARY 2018

 FASHION STATEMENT
FA
Focal’s flagship Utopias may have garnered rave reviews for sound, but
no-one would ever accuse them of being particularly elegant. So one
of the company’s aims with its new Kanta range was to come up with a
more stylish design that appealed to both eyes and ears. As
well as incorporating new materials for a more streamlined
design, Focal has gone to town with its
colour co-ordination options. The main
cabinet is available in either high-gloss
black or walnut wood veneer, and each
can be married with its own selection of
four different baffle colours. The gloss black
cabinet can be paired with eye-catching
Solar Yellow [inset picture], Gauloise Blue,
Carrara White, or just a matching black. The
walnut option provides a more subdued set
of colours, including Ivory, Dark Grey, Taupe,
as well as Gauloise Blue [main pictures].

– is intended to time-align the

driver outputs. That attention to
detail continues right down to the
removable magnetic grilles, and
the smooth glass panel that sits
atop the speaker cabinet. performance. At times the drums sounded
A more practical finishing touch positively manic, and as Bowie intones
is the Zamac (metal alloy) stand, ‘how many times does an angel fall?’ it felt
with its adjustable spiked legs as though his world was spinning out of
that ensure stability on almost any control (as, tragically, it proved to be so).
surface. Nevertheless, even with Turning to something a little more
their time-aligned baffles, these upbeat, the Kanta No2 confidently balanced
new Focals are still somewhat the changing moods and tempo of Björk’s
picky about positioning and you’ll ‘It’s Oh So Quiet’ [Post; One Little Indian
need to dig out your slide-rule TPLP51CDL]. There’s a seductive lilting tone
– or use the calculator app on on the opening woodwind and the gently
your smartphone – to follow the plucked double-bass, and Björk’s softly
mathematical equation provided whispering voice has a delicate warmth
for determining the optimal that is a world away from some of her more
placement of your speakers! unearthly vocal gymnastics. But when the
chorus kicks in, the Kanta No2 knows that
BOWIE INSIGHTS it’s time to step up a gear, and the blaring
Thankfully your fine-tuning will be horns and jangling piano swing with an
rewarded, as the Kanta No2 does authentic 1950’s big band sound.
a good job of combining its more Focal’s website frequently refers to the
compact design with an attractive challenge of maintaining bass performance
sound quality – and offering within the more restricted confines of
tremendous insight into the likes the Kanta’s compact cabinets, but the
of the deep, sad tones of David company’s engineers have done well here.
Bowie’s ‘Blackstar’ [Blackstar; ISO/ Listening to the remastered 2009 version
Columbia 88875173871]. of ‘Come Together’ by The Beatles [Abbey
Initially auditioned in Road; EMI B0025KVLUQ] I was immediately
editor PM’s listening room, struck by the famous sliding bass-guitar riff
there was a real sense of that opens the track. These initial notes
impending doom in Bowie’s were satisfyingly full and firm, grabbing
sonorous tones, yet the my attention and pulling me into the
percussion sounded taut song, before sliding smoothly along with a
and precise, with a whiplash crack like the relaxed swing of the hips that made it hard
ricochet of a bullet. The contrast between to keeping sitting still.
Bowie’s mournful tones and the skittering There’s a nice contrast, too, between
percussion created a real sense of tension the delicacy of the bass and the heavier
and unease, reflected in the Kanta No2’s guitar chords that weigh in at the end

JANUARY 2018 | www.hifinews.co.uk | 49

 CS 8.2
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 LAB
REPORT
FOCAL KANTA No2
Focal has a long history of making high-sensitivity floorstanding
loudspeakers, some of which break the 90dB barrier to enter
LEFT: Supplementary rear ‘Power
the rarefied atmosphere occupied by only the most sensitive
Flow’ reflex port sits above single 4mm direct-radiator designs. The Kanta No2 claims to be part of that
binding posts – no bi-wiring/amping elite, with a specified sensitivity of 91dB, but that’s not a figure
possible here. Elegant alloy base plate verified by our measurements. Our pink noise figure is 89.3dB,
includes spikes and ensures stability or 89.1dB for a ‘music spectrum’ signal (both 300Hz-20kHz), so
89dB seems a more realistic figure. As we often see with Focal,
this is in significant part achieved through low impedance.
processional pace. Enya’s layered Focal’s nominal figure of 8ohm sits uneasily with its specified
harmonies are smooth and detailed, minimum of 3.1ohm, and we actually measured slightly lower
and the sound floats lightly in the air – 2.9ohm at 108Hz. Together with a large low frequency
impedance phase angle, the low modulus contrives to reduce
immediately around and above the the minimum EPDR (equivalent peak dissipation resistance) to
speakers, in typical Enya fashion. Yet an extremely challenging 1.1ohm at 86Hz, so the Kanta No2
that floating sound-cloud does seem demands an amplifier capable of delivering high current.
quite static and lacking the boldness Forward frequency responses for the review pair, measured
at 1m on the tweeter axis indicate a mild presence band dip
to spread further afield. Even moving
and the treble ripples we’ve come to expect from recent new
just a little further back in the room, Focal models [see Graph 1, below]. Response errors are modest
I clearly get the sense that I’m at ±3.1dB and ±3.5dB respectively; pair matching over the
straying out of bounds and leaving same 300Hz-20kHz frequency range is good at ±0.9dB and but
for a narrow-band disparity between 4kHz and 5kHz would be
Enya’s atmospherics behind me.
±0.7dB. Diffraction-corrected nearfield measurement shows bass
extension to be 41Hz (–6dB re. 200Hz). The cumulative spectral
SMALL SPACES decay waterfall [Graph 2, below] confirms that the treble
Of course, it’s not unusual for response ripples are associated with a series of resonances,
speaker brands to emphasise precise possibly modes associated with the flax/glass fibre mid driver. KH
positioning in order to achieve the
best sound quality, but the scope
here seems somewhat rigid and
inflexible. Focal claims the Kanta No2
is designed for rooms measuring up
to 750ft2 (60m2), but also adds that
the speakers work best in smaller
rooms of up to 320ft2 (30m2).
Subsequent listening suggested
that the latter figure is perhaps more
realistic, as the speakers sounded
terrific when I was in the sweet spot
of a smaller space – and they would ABOVE: The Kanta No2’s response shows a broad
be great if you have a listening room trough through the presence band and treble ripples
or den that you can devote to them.
But while the tonal quality of the
sound is hard to fault, the speakers
should provide a greater sense of
space in order to really ‘own’ the
room – as you might expect at this dB 0.0
price. But perhaps that’s something -6 1.0
Focal is saving for the yet-to-be - 12
2.0
of the chorus. Lennon’s lead vocal announced Kanta No3? - 18
8
3.0
could be a little more prominent, - 24
4.0
perhaps – it almost sounds as HI-FI NEWS VERDICT - 30

though he’s singing from the rear of 5.0 msec

The sound here can feel a little 200 1000 10000
the stage, until the backing voices
Frequency in Hz >>
constrained at times, and is
join in and add a little extra vocal ABOVE: Cabinet is well damped but (midrange) driver
perhaps better suited to bijou
weight. To be fair, it’s a very natural resonances are visible through the treble at 4-6kHz
rooms where you can give the
sound that’s not unlike listening to
Kanta No2s the attention they HI-FI NEWS SPECIFICATIONS
a live performance at home, yet it HI-FI NEWS SPECIFICATIONS
need. Yet that extra touch of style
can still sound a little constrained
must surely attract users who Sensitivity (SPL/1m/2.83Vrms – Mean/IEC/Music) 89.2dB/89.3dB/89.1dB
at times, as though the Kanta No2 is
have been intimidated by the Impedance modulus min/max (20Hz–20kHz) 2.9ohm @ 108Hz
reluctant to let go and really reach
visuals of Focal’s earlier speakers. 50.8ohm @ 26Hz
out into the room.
So it’s mission accomplished for Impedance phase min/max (20Hz–20kHz) –74o @ 64Hz
It’s a similar story with the
this new and more streamlined 49o @ 21Hz
widescreen production of Enya’s
design that produces an insightful Pair matching/Response Error (300Hz–20kHz) ±0.9dB/ ±3.1dB/±3.5dB
‘The Humming’ [Warner]. The quality
sound in ‘real’ spaces. LF/HF extension (–6dB ref 200Hz/10kHz) 41Hz / >40kHz/>40kHz
of the sound is impeccable, with
attractive warmth on the humming Sound Quality: 83% THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 0.1% / 0.2% / 0.1%
refrain, while the slow, insistent 0 - - - - - - - - 100 Dimensions (HWD) 1118x321x477mm
drumbeat gives the song a stately,

JANUARY 2018 | www.hifinews.co.uk | 51

 Low output moving-coil pick-up cartridge
Made by: Ortofon A/S, Denmark
Supplied by: Henley Designs Ltd, UK
Telephone: 01235 511166
Web: www.ortofon.com; www.henleydesigns.co.uk
CARTRIDGE Price: £3100

Ortofon MC Windfeld Ti
A decade ago, Ortofon paid homage to its retiring design chief with a pick-up bearing
his name. A hard act to follow, this new successor has had more than a makeover
Review: David Price Lab: Paul Miller
ack in the harvest years of the of Ortofon’s 95th anniversary [HFN Sep ’09]. The body is new, and designed for

B vinyl LP when practically everyone

used a turntable to listen to music,
hi-fi hobbyists would talk in terms
of a pick-up’s ‘sound’. We knew the score
– Supexes were rich and warm, Shures
It still has much in common with the first
Windfeld, yet is more than just a quick mid-
life makeover. The old stylus and cantilever
magnet system are retained, but the new
‘Ti’ brings a major upgrade to the cartridge
even better mechanical rigidity than its
predecessor. Most of it is a black anodised
aluminium alloy with a central titanium
section, and this gives a classier look than
the original. A new shield is fitted to the
were fast and punchy, and Ortofons were body. In addition to the alloy and stainless underside for greater mechanical rigidity,
smooth and detailed. There was a certain steel outer section, there is now a titanium while on top you will find three new hard,
Scandinavian tidiness to them, allied to real inner structure produced by a novel well-defined contact points, designed to be
refinement and musical insight. engineering process called Selective Laser the mechanical interface points between
Melting (SLM) [see boxout, facing page]. the cartridge body and headshell.
DANISH INNOVATION The original’s coils are retained, but a Ortofon claims a mass of 11g, which
For that, you can thank Per Windfeld, the new and specially designed armature – is not inconsiderable, albeit a useful 2g
company’s designer from 1976 until 2006. inspired by that MC A95 lighter than the original
He gave the Danish brand a family sound design – is said to achieve model. Compliance is
that spanned everything from the humble extreme precision in each ‘The new Windfeld said to be 13μm/mN,
VMS20E moving-magnet to the loftiest MC
Rohmann, taking in the classic Concordes
coil turn. The company’s
Field Stabilising Element
satisfies your and the output is rated
is 0.2mV – very low in
to the modern Kontrapunkts with over 40 (FSE) – a small cylinder soul by engaging the great scheme of
more models along the way. No surprise of conductive material modern MC cartridges
then that, upon his departure, his successor strategically placed inside your brain’ [see PM’s Lab Report,
chose to make a commemorative moving- the magnet system – is p55]. Prospective
coil. Leif Johannsen, Chief Officer of also kept for this new model and this is said purchasers will need to check that they
Acoustics and Technology, came up with to keep the force field stable regardless of have a phono preamplifier with adequate
the MC Windfeld precisely ten years ago armature movement. As before, cantilever sensitivity and low noise.
[HFN Jan ’08]. travel is carefully controlled by the
This was effectively ‘Ortofon’s greatest company’s Wide Range Damping (WRD) SIMPLE SET-UP
hits’, an amalgam of many of Per Windfeld’s system, where a small but dense platinum The MC Windfeld Ti is reasonably easy
innovations found in earlier designs. disc is sandwiched between to install into a tonearm, although the
It had an extremely low mass, large two rubber absorbers. recessed rear output pins will require
vertical-contact Replicant 100 diamond petite fingers and/or the use of a pair
stylus – said to closely resemble the of tweezers to fit the wires and tags.
profile of a cutting stylus – affixed to a Fortunately the stylus guard is a
boron cantilever. The coils were wound good secure design that remains
with Ortofon’s ‘Aucurum’ gold-plated, firmly in place as you fiddle your
6N oxygen-free copper wire and sat way through the mounting
inside a stainless steel and alloy body process. The bottom side sections
with the initials PW inscribed in gold. of the pick-up are straight, making
The generator system was based on it easier to use in conjunction
a powerful but compact neodymium with an alignment protractor
magnet, thus reducing the cartridge’s than some rival designs with
weight. It was a class act, and one that the more rounded bodies.
new £3100 MC Windfeld Ti has to better... It balanced up easily
The new model is partly inspired by the enough, and after some
work on the MC A95, named in celebration experimentation I concurred
with Ortofon’s recommended
RIGHT: Tracking performance is as good as 2.3g tracking force. Go
you’ll get from a low compliance MC thanks lighter and the tracking
to the excellent WRD suspension, rigid boron deteriorates slightly, go
cantilever and extended (line) contact ‘Replicant heavier and things sound
100’ stylus. Output is a low 200μV though... a little less lively. During the

52 | www.hifinews.co.uk | JANUARY 2018

 LEFT: The two-part titanium body with alloy
‘overcoat’ includes threaded mounting holes,
but note the three points of contact on the
cartridge top. The exposed cantilever demands
caution but cueing is made much easier

[RCA 1503] immediately showed... This

is not a great recording and my 1960s
pressing is, as antique dealers would put
it, ‘distressed’. Yet the MC Windfeld Ti
appeared able to ‘magic’ its way past the
damaged record surface and get right
into the sound, offering a powerful central
image with a bold and assertive quality.
The stereo image pushed out wide and
there was a fair degree of depth too. This
cartridge has quite an ‘architectural’ sound
with everything clearly in proportion and
little added or taken away. Confident,
stable, poised and precise, it’s an excellent
moving-coil design.
But, as I have said, there are more
emotional and gushing cartridges out
there, ones that make you feel as if you
have had one glass of red too many as
review period it found itself in several So on first acquaintance the MC the evening rolls on. The Windfeld Ti
tonearms, from an Origin Live Enterprise Windfeld Ti can seem just slightly bland, however gives a more studied approach
to a classic Audio-Technica AT-1000. yet the more you listen the more you – it satisfies your soul by engaging your
find yourself being pulled in. It’s less of a brain, delighting in digging up all that
INSIGHT AND RESOLUTION music-maker, more of a ‘gatekeeper’ to information with forensic zeal. It was able
By any measure this is a superb-sounding the recording, one might say. There’s no to convey the song’s harmonies with great
MC. It is distinctively ‘Ortofon’ with the artifice about it, so you don’t get an overly delicacy, yet never quite seemed to get lost
company’s typically very balanced and bulbous bass to power the song along, or in the music as some rivals can.
methodical way of making music, yet it a biting treble to keep you on the edge
offers far greater insights than you might of your seat. Instead it is a translucent- ALWAYS IN CONTROL
expect from such an even-handed device. sounding design, able to convey the This pick-up is always in control and given
One would never confuse it with a fatter, vibrancy of a good recording. (by way of contrast) a fine classic analogue
sweeter sounding van den Hul, or a more Without sensationalising the recording like Wings’ ‘London Town’ [from
clinical and analytical Audio-Technica. music, its resolution and London Town; MPL Communications
Instead it treads a middle way that’s rarely insight is really something Inc 8X-PAS 10012], and the new
experienced at this end of the MC market. else, as my ageing Windfeld flies. This late 1970s
Some might criticise it for a certain lack of 7in single of The Abbey Road track sounded
character, yet surely it is for the music to Mamas & the Papas’ better than I’d heard it for a
have the colour, and not the pick-up? ‘California Dreamin’’ very long time. What really
struck home was the timbre
TITANIUM TECH of Paul McCartney’s voice –
here with a wonderful richness
For decades we have seen constant new thinking on cartridge and tactility, and a lustre
body materials, with all kinds of wood, alloys and plastics used that appeared so much less
– and sometimes even skeletal designs with no conventional processed than I had become
body at all. For the MC Windfeld Ti, Ortofon has chosen to stick used to. Likewise, the timbre of the
with the alloy and stainless steel construction seen in its predecessor, backing vocals, bass guitar and piano
but add a new inner structure made of titanium (hence the suffix), using a work was gorgeous to behold.
process the company calls Selective Laser Melting (SLM). First seen in 2008’s MC This is a dreamy, ‘floaty’ track and the
A90 [HFN Sep ’09], the idea is to present the strongest and most rigid cartridge MC Windfeld Ti didn’t detract from this
assembly to the tonearm’s headshell. The thinking is that any lost energy here aspect of it one bit, yet still pulled me in
can never be recovered, resulting in a diminution of dynamics and detail. The more deeply than usual. I was struck by
unique SLM process welds fine particles of titanium together, layer upon layer, how plaintive the lead vocal sounded,
to construct a single piece body devoid of extraneous material, says Ortofon. The lightly tinged with melancholy. The overall
technique is claimed to give precise control of the density of the body material, effect was really quite special.
allowing for extremely high internal damping. The result is a lighter, quieter and So even if this is not the most dramatic
yet more rigid cartridge compared to its already sturdy predecessor. of performers, it will nonetheless still serve
up a satisfying musical performance.

JANUARY 2018 | www.hifinews.co.uk | 53

 




 








 

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 LAB
REPORT
ORTOFON MC WINDFELD TI
This exquisitely-constructed cartridge is a story of two halves –
the lateral (L+R, in-phase) and vertical (L–R, out-of-phase stereo).
LEFT: Despite the economy of its sleek
But let’s start with the basics, for conventional tests reveal a pick-
profile, the weight of this aluminium/ up that offers remarkable L/R symmetry, its highly improbable
titanium cartridge is not inconsiderable ~0.03dB channel balance achieved with exactly 199μV from Left
at 11g. The gold-plated rear pins are and Right (re. 1kHz at 5cm/sec into 50-200ohm). A low-noise
recessed but clearly marked and well step-up (active or transformer) will be vital in drawing the best
from the Windfeld Ti, but tracking will never be an issue for – at
spaced to accept over-sized tonearm an admittedly high-ish 2.3g – it tracks like a trooper, easing
leads/connections through the maximum 80μm groove pitch and clearing the
+18dB test (315Hz lateral cut, re. 11.2μm) at 2.5% THD.
However, the L+R and L–R performances are less
symmetrical. In practice the 23o tracking angle was closer to 28o
with a parallel arm tube and while the very flat and extended
lateral response [black trace, Graph 1] was bang-on Ortofon’s
specification, with the mildest ‘sting’ at 12-15kHz, the vertical
response [red trace] shows a much more obvious presence/
treble roll-off of –5dB/20kHz. This suggests that in-phase cuts,
like a central vocalist, will sound more vibrant than any out-of-
phase backing performers. The Windfeld Ti’s distortion trend
also reflects this ‘Jekyll and Hyde’ character with lateral cuts
showing a very low sub-1% THD up to 2kHz (–8dB relative to
5cm/sec; equalised) but then increasing quite substantially with
frequency [black infill, Graph 2], reaching 15%/20kHz. This is a
function of bandwidth not generator linearity, for while vertical
cuts demonstrate a uniformly higher ~2% distortion through
bass and midrange, there’s a perceived drop in THD at very high
frequencies where the response falls away. PM

Things here just ‘lilted along’ in a delicate treble from equivalently-

carefree and tender way with no priced Lyras, yet I doubt that they
sense of either the musicians – or sound any more realistic.
indeed the cartridge – trying to Classical music was another
add extra bite to impress. The MC joy. Hearing this genre via ageing
Windfeld Ti reached deep into the analogue discs is not an especially
depths of the mix, pulling out vast popular pursuit, but I find fine
amounts of detail, ensuring the moving-coils have the power to
drum work was a pleasure to behold make some old analogue LPs sound
and the sheer delicacy beguiling. electrifying, some of which have
This combination of subtlety and staggering presence. My venerable
control, beautifully measured, pressing of Beethoven’s ‘Pastoral’ ABOVE: Frequency response curves (–8dB re. 5cm/
defines its nature. Along with its Symphony’ [BPO/Karajan; DG sec) lateral (L+R, black) versus vertical (L–R, red)
obvious ability, at this point I began 2531106] was a delight, for while
to contemplate the new Windfeld’s the orchestra sounded a little less
almost complete lack of vice. spacious at its extremities than I’ve
sometimes heard, it still presented
GRACE UNDER PRESSURE a strong and bold central image.
4hero’s ‘Spirits In Transit’ [from 2 Moreover with the superb timbre of
Pages; Talkin’ Loud 568 879-1] was the Berlin strings and the enjoyably
recorded 18 years after ‘London fluid gait to the proceedings as a
Town’, and benefits from a cleaner whole, I was enthralled.
and punchier sound. This track
has a powerful acoustic double- HI-FI NEWS VERDICT
bass that demands much from any ABOVE: Lateral (L+R, black infill) and vertical (L–R, red)
There’s no shortage of high-end
pick-up, and the Windfeld showed tracing and generator distortion (2nd-4th harmonics)
moving-coil cartridges and to
good judgment. Never overdone, vs. frequency from 20Hz-20kHz (–8dB re. 5cm/sec)
earn its rightful place the Ortofon
it nevertheless demonstrated real
MC Windfeld Ti has to offer a
steel that could pile-drive bass with HI-FI NEWS SPECIFICATIONS
distinctive proposition to buyers.
the best of them. Even on bruising
This it does in no uncertain terms Generator type/weight Moving-coil / 11g
transients, the cartridge showed
– it has power, scale, precision
grace under pressure. Recommended tracking force 2.0-2.5mN (2.3mN)
and poise, while never being
Heavily modulated electronic Sensitivity/balance (re. 5cm/sec) 199uV / ~0.03dB
an overly ‘showy’ performer. It
drum ’n’ bass from Goldie –
serves up a ‘matter of fact’ sound Compliance (vertical/lateral) 18cu / 15cu
‘Timeless’ [from Timeless; FFRR 828
in a more compelling way than Vertical tracking angle 28 degrees
614-1] – had just the same effect.
one might think possible, giving it L/R Tracking ability >80μm / >80μm
The Windfeld Ti satisfied with its
an admirably wide appeal.
smooth, crisp and delicately etched L/R Distortion (–8dB, 20Hz-20kHz) 0.25–14% / 0.5–20%
hi-hat cymbal sound, with palpable Sound Quality: 85% L/R Frequency resp. (20Hz-20kHz) +2.3 to –0.1dB / +2.3 to –0.3dB
air and space up in the treble 0 - - - - - - - - 100 Stereo separation (1kHz / 20kHz) 30dB / 20dB
region. I’ve heard sweeter and more

JANUARY 2018 | www.hifinews.co.uk | 55

 USB DAC with fixed/variable output
Made by: Musical Fidelity Ltd, London
Supplied by: Musical Fidelity Ltd
Telephone: 0208 900 2866
Web: www.musicalfidelity.com
USB DAC Price: £1499

Musical Fidelity M6 SDAC

The name is similar but the M6 SDAC is an all-new DAC/headphone amp at a more
wallet-friendly price than the original M6. Do fewer frills make for better value?
Review: Tom Anderson Lab: Paul Miller
ould outboard DACs make the a nice click. One scrolls through power, DIP-switch beside the terminals. There is

C sort of comeback that has seen

everyone get into a spin over
turntables? Musical Fidelity
certainly thinks so, and the company has
form here too with its Digilog product in
standby and mute while the other two are
paired to scroll left/right through the seven
digital inputs.
Indication of LPCM sampling rate, DSD
format and input is shown by pin-head
no longer a digital output but the S/PDIF
input count has grown to three optical and
three coaxial. All are capable of handling
192kHz/24-bit data despite the spec sheet
suggesting the optical inputs are only good
the vanguard of the outboard DAC concept sized blue LEDs while a green LED indicates for 96kHz/24-bit.
back in the late 1980s. Yet the new £1500 the DAC’s 768kHz/32-bit up-conversion Unusually, the asynchronous USB
M6 SDAC is every bit a contemporary unit. process (which is not defeatable, so this connection is via a USB 2.0 Micro-B socket
Based on ESS’s ES9028 Pro Sabre chip, remains lit as long as there is a source rather than a traditional square Type B. The
this latest MF DAC is capable handling of playing). It is not until you spin the unit M6 SDAC does come supplied with a Type
pretty much any music file format, up to around that you see any hint of cost saving. B-to-Micro-B adapter but you will need to
384kHz/32-bit and DSD128 resolution, via Gone is the M6’s finned casework in favour support the cable to avoid strain on the
its asynchronous USB input. Meanwhile its of a pressed steel wrap and the rear panel port. On the plus side, your Micro-B smart
S/PDIF inputs are ripe for connection to forgoes the original’s ostentatiously chunky phone charger cable will work just fine,
any legacy digital source, including your RCAs for more standard items. albeit at the expense of your audiophile
venerable CD player/transport. The connection suite is markedly street cred. For Windows 10 and Mac OS
different too. Analogue output is via there is no need for USB drivers, while for
STYLISH TREAT balanced XLRs and single-ended RCAs, earlier versions of Windows, MF is working
The M6 SDAC’s flexibility does not operating simultaneously, while given on a bespoke driver, available soon.
stop there. MF has integrated a high- good light, reading glasses and a ball- There’s no AES/EBU input on the M6
performance headphone amplifier, remote point pen, you can swap between fixed SDAC but few domestic digital sources
control and switchable variable output. and variable output using the microscopic offer this pro-orientated balanced digital
Connect this DAC’s balanced XLR or single-
ended RCA terminals directly to a power
amplifier or active speakers and it becomes
a well-specified, ‘all-digital’ preamp. While
this new kid in MF’s portfolio shares the
same prefix as the original M6 DAC [HFN
Mar ’13], it is a very different beast –
forgoing the latter’s wireless connectivity,
beefy PSUs and super-luxury build in favour
of a technically superior ESS chip and with
£700 off the price tag.
Not that you can tell that from the front.
The brushed aluminium fascia, available
in black or silver, is just the sort of stylish
treat we have come to expect from MF. The
overall design owes much to the MX-DAC,
buffed here with an inset chrome effect M6
logo and a volume knob machined from
a chunk of aluminium. Ditching the LCD
display of the old M6 DAC has made the
whole package look a lot neater too. The
three buttons are tactile and operate with

RIGHT: A lot of fresh air surrounds the toroidal

mains transformer [lower left], the ±15V power
supply board [with red Wurth Elektronik caps]
and main DAC PCB with XMOS USB input and
balanced analogue output stage [top]

56 | www.hifinews.co.uk | JANUARY 2018

connection anyway. A network connection 1980s CD player. Still, as the M6 SDAC’s ABOVE: Owing much of its cosmetic charm to
would offer far greater possibilities, but price ticket is considerably more retro that the MX-DAC, the M6 SDAC adds flexibility and
the SDAC would then morph into a very its predecessor, I can live with that. touches of high-end luxury. The inset logo, metal
different product... Neither of these volume knob and headphone output are classy
omissions was made for lack of interior real PACKED WITH DETAIL
estate. Peeking under the lid [see inside Across its range of inputs the M6 SDAC edge of high notes had a slightly gritty
shot, opposite page], there is more space elicits a punchy, accurate and well- texture. A week on, warmed-up, run-in and
in there than in my spare bedroom. A small balanced sound that’s both essentially with the balanced fixed output hooked
toroidal transformer and four compact neutral and packed with detail. Adele’s up to a Marantz preamp, the M6 SDAC
PCBs are placed well apart – the rest is ‘Hello’ [25; XL Recordings XLLP740 ] really got into its stride. ‘Hell To The Liars’
largely just fresh air. generated a good spread of goose bumps, from London Grammar’s recent Truth
That is a far cry from the large, and a weekend-long AC/DC session, as Is A Beautiful Thing [Ministry Of Sound,
symmetrical boards and individually tribute to the untimely demise of Malcolm 5759327] bowled across with its powerful
shielded components of Young, saw more than its lead vocal. Hannah Reid’s haunting voice
the M6 DAC. That design fair share of air guitars. was fully formed, imaged solidly centre
all but eliminated internal ‘This DAC Yet the M6 SDAC stage and offered a great sense of realism.
cabling, while the SDAC
is full of trailing spaghetti
absolutely nailed got off to a wobbly
start. A combination of CUT TO THE CHASE
and board-coupling tape. the Thorsen/ material recorded at VU The SDAC had no qualms in unearthing
As the SDAC has also lost meter bending levels the track’s subtle recording issues either.
Bluetooth, there may not Trondheim set’ and the SDAC’s full 4.3V It clearly revealed the saturated recording
have been a need for such balanced output taxed of hard piano notes and several very
heavy-duty shielding but the internal layout the input of two of the three preamps I quiet studio noises. But with the sound
still looks a tad uninspiring. tried, but switching to variable output airing towards analytical, could the SDAC
The same comment might be levelled and connecting directly to my power amp boogie? On with the dance anthem ‘Raise
at the remote control [see p59]. Ostensibly circumnavigated the issue. The volume Your Weapon’ from the intriguingly titled
included for its volume and input selection control worked fine but the sound didn’t 4X4=12 CD by Deadmau5 [Mau5trap
controls when using the SDAC as a digital really wow. Perhaps due to the set-up not Recordings MAU5CD05] the SDAC wasted
preamp, the chunky plastic design would gelling with my 10m-long XLR cables, the no time in cutting to the bass-lead chase
not look out of place accompanying a sound lost some of its spark and the top of this immaculately produced electronica.
With the female vocal snapped firmly
A DIGITAL JOURNEY centre stage, the surrounding music ripped
from the speakers with speed and weight.
Who launched the first audiophile outboard DAC in any quantity, Musical Fidelity Bass is super-taut and lacks nothing in
or Arcam, is still the subject of debate. Either way, 1988’s Digilog set Musical sheer clout. Turn up the volume and the
Fidelity on a path culminating in today’s M6 SDAC with plenty of milestones infectious rhythm will have the whole
along its digital journey, including the valve-equipped Tubalog [HFN Jul ’93] and house tapping their feet, yet the SDAC’s
X-DAC [HFN Apr ’97] as part of the funkily-styled X-series components. Followed presentation is perhaps a little too tightly
closely by the X-24K upsampling DAC, the turn of the century saw MF’s first DAC/ wrapped here. While the soundstage is
preamps including its futuristic CD-Pre 24 [HFN Jun ’02]. This heralded the arrival wide it doesn’t really expand into the room
of the Tri-Vista 21 Trivistor triode-equipped ‘super DAC’ [HFN Dec ’03]. In 2006 and the dance rhythm almost demands a
MF launched the all-in-one CD/DAC/amplifier, the kW250S, while the last decade little bass overhang and bloom. The SDAC
has seen MF integrate digital architecture across its product range. Highlights has no such excess.
include the M1 DAC [HFN Oct ’10], the network attached CLiC [HFN Jun ’11], M1 With well-recorded complex classical
SDAC, M6-DAC [HFN Mar ’13], V90-DAC, M6 Encore 225 [HFN Dec ’16], MX-DAC pieces for example, its presentation is
and, most recently, the M6 SDAC reviewed here. For the future a new M8 500xi polished and articulate. With splashily-
amplifier with high-end DAC is mooted for the summer of 2018, followed by a recorded rock, such as most of AC/DC’s
stripped-down M3 Encore and Nu-Vista DAC. back catalogue, the sound can come
across as, well, splashy. That’s not to say

JANUARY 2018 | www.hifinews.co.uk | 57

 *

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D i s t r i b u t e d e x c l u s i v e l y i n t h e U K a n d I r e l a n d b y S C V | w w w. s c v d i s t r i b u t i o n . c o . u k | 0 3 3 0 1 2 2 2 5 0 0
 LAB
REPORT
USB DAC MUSICAL FIDELITY M6 SDAC
Although many brands have pursued ESS’s latest ES9038 Pro
converter for their 2017/18 designs, Musical Fidelity has retained
the earlier ES9028 Pro chip for its M6 SDAC. Bearing in mind
that many ES9038 Pro-based DACs have displayed higher-than-
anticipated levels of jitter in my lab tests – one exception being
the Ayre QX-5 Twenty [HFN Dec ’17] – then MF’s decision to stick
with the ES9028 may have been fortuitous. And, indeed, jitter is
lower at ~175psec here than we’ve seen with some ES9038-
based DACs but, interestingly, still not as low as the 10-11psec
MF achieved with its Burr-Brown DSD1796-based M6 DAC [HFN
Mar 13]. In the M6 SDAC, jitter is ±50/150Hz PSU-related, which
could just as easily be an analogue intermodulation [see Graph 2,
below]. By way of explanation, as our inside shot from the period
ABOVE: Three coaxial and three optical S/PDIF inputs are offered alongside an clearly illustrates, the DAC/analogue stages in the M6 DAC were
asynchronous micro-USB and both single-ended (RCA) and balanced (XLR) audio outs far better screened than here in the M6 SDAC.
(with fixed or variable volume). An M-series system remote completes the package Otherwise, the M6 SDAC does enjoy another 2dB of S/N
(116.3dB vs. 114.4dB) compared to the older model, although
the 4V balanced output is upped to 4.34V here from an almost
the SDAC can’t rock when it wants ‘Riders On The Storm’ was no less
identical 45-60ohm source impedance. Distortion is not
to. With a big handful of volume, impressive. It’s not a huge, out- vanishingly low but hovers around an impressively consistent
AC/DC’s theme tune for anonymous there performance but what it 0.002-0.0035% through the entire audio bandwidth over the
hi-fi bloggers, ‘Dirty Deeds Done lacks in scale it makes up for in top 30dB of its dynamic range [see Graph 1]. Finally, MF has
elected to use a fast roll-off/minimum phase filter option for the
Dirt Cheap’ sounds passionate, gritty sheer authenticity. The opening
ES9028 DAC, trading a lack of transient pre-ringing for extended
and downright dirty – and just how storm effect came across as subtle post-ringing, a moderate 75dB suppression of stopband images
the band intended. Yet the woeful and warm, the distant rumbles of and a response that’s flat to within ±0.1dB from 20Hz-20kHz.
recording, minuscule soundstage thunder and rain appearing so real This extends to –0.4dB/45kHz and –2.4dB/90kHz with 96kHz and
and compressed dynamic range are that I thought my sofa was about 192kHz media, respectively. PM
exposed with equal aplomb. to get wet. Meanwhile Morrison’s
vocal drifted in like a warm sirocco,
HIGH-RES REVELS the SDAC neatly encapsulating the
Switching to the USB input allowed era and its laid-back culture with his
the M6 SDAC to further up its game. Californian drawl.
The very same tracks had all the The M6 SDAC’s effect with high-
neutrality and detail witnessed with res material led to a romp through
my CD player’s S/PDIF source but a complete roster of high-bit
with a little more space between classical recordings and samplers,
instruments. Reid’s vocal had none of which disappointed. The
more height and body and there SDAC’s renditions of the finale to
was a greater sense of three- Haydn’s String Quartet in D, with
dimensionality across genres. It’s not the Engegård Quartet [2L 2L-053- ABOVE: Distortion versus 48kHz/24-bit digital signal
a DAC to wow you with surround- SACD; 192kHz/24-bit], and Britten’s level over a 120dB dynamic range (via S/PDIF, 1kHz,
sound like imaging but its fidelity to Simple Symphony played by the red infill; via USB, 1kHz, black; 20kHz, blue)
the detail of a recording is, on the TrondheimSolistene [2L 2L-050]
whole, impeccable. sounded sublime in their musical
Stepping up to high-res source ‘speed’ and accurate tonal colour. In
material sees the M6 SDAC at reproducing the timbre and passion
its very best – supremely well- of these genuinely high-fidelity
balanced, detailed and precise, recordings, Musical Fidelity’s SDAC
it revels in well-recorded, high proved to be up there with the best
bit-rate, high sample-rate music. of its sub-£2000 competition.
It absolutely nailed the Marianne
Thorsen/TrondheimSolistene take on HI-FI NEWS VERDICT
Mozart’s Violin Concerto No 4 [2L
The M6 SDAC is a focused,
2L38] revealing the solo violin with ABOVE: High resolution jitter spectrum over S/PDIF &
streamlined DAC/preamp with a
breathtaking articulation and depth, USB (48kHz/24-bit, black with markers; 96kHz, red)
classy and revealing sound. It can
and the scale of the orchestra with
unearth subtleties in high quality,
full-bodied passion. This immaculate HI-FI NEWS SPECIFICATIONS
high-res recordings with sublime
192kHz/24-bit recording is
accuracy while also packing a Maximum output level / Impedance 4.34Vrms / 45ohm (XLR out)
presented with a deathly silent
taut bass punch. Poor recordings
background and is rich with acoustic A-wtd S/N ratio (S/PDIF / USB) 116.3dB / 116.5dB
are typically given short shrift
clues to the instrument position and Distortion (1kHz, 0dBFs/–30dBFs) 0.0026% / 0.0034%
and up-tempo rock and pop can
ambience of the venue.
sound a little wanting, but for Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.0034% / 0.0019%
The sublime 96kHz/24-bit
those looking to dig deep into Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0 to –0.0dB/–0.4dB/–2.4dB
HDtracks re-master of The Doors’
the nuances of high-res files, the Digital jitter (48kHz/96kHz / USB) 175psec / 88psec / 165psec
SDAC is well worth a listen.
Resolution @ –100dB/–120dB (S/PDIF) ±0.1dB / ±1.7dB
Sound Quality: 81% Power consumption 7W (1W standby)
0 - - - - - - - - 100
Dimensions (WHD) / Weight 440x100x380mm / 6.9kg

JANUARY 2018 | www.hifinews.co.uk | 59

 Integrated amp with network/USB inputs. Rated at 150W/8ohm
Made by: Hegel Music Systems AS, Oslo, Norway
Supplied by: Hegel Music Systems AS
Telephone: +47 22 605660
Web: www.hegel.com
AMPLIFIER/USB DAC Price: £3200

Hegel H190
Hegel’s slimline amp is a ‘Röst on steroids’ but still offers a characteristically simple face
to the world. But behind the minimalist fascia lurk hidden abilities and digital flexibility
Review: Andrew Everard Lab: Paul Miller
ere there ever such a thing on show to the world is a source selector, network playback, but Hegel has taken the

W as hi-fi alt-culture, brands like

Hegel Music Systems would
be at its forefront. Although
Hegel has been around in various forms
for almost 30 years, of late the Norwegian
a display and a volume control, and even
the power button is hidden under the front
edge of the fascia. The rear panel is almost
as simple, with just two conventional line
inputs on RCAs and one on balanced XLRs
sensible step of not developing its own
interface and app – why bother when there
are perfectly good third-party offerings out
there, such as the Linn-developed Kinsky,
PlugPlayer, et al – but instead suggesting
company has grown in prominence in the (each configurable to fixed gain for AV use), users stick to one of those extant solutions.
wider hi-fi conscience as an alternative to plus fixed and variable analogue preamp That said, the amp does work well
the bigger names, producing components outputs, besides the speaker terminals. with these third-party apps, so when you
of simple solidity backed up with solid The digital side of the H190 seems operate the volume control on the Kinsky
in-house engineering. almost as elementary, with three optical app, for example, you’re not chopping the
In fact, Hegel is extremely well and one coaxial input plus that Type B USB digital signal to achieve attenuation, but
established, with distribution in over 30 and an Ethernet port, which will handle actually operating the H190’s own volume
countries, and with products such as files at up to 192kHz. Meanwhile the adjustment. This reliance on external
this £3200 H190 integrated amplifier casework, sitting on three feet for stability, DLNA control means the amp isn’t quite
– available in either black or white in its looks more functional than flashy, and even as flexible as some rivals, but it works
catalogue – it’s not hard to see why. But the remote, for all its metal-clad solidity, perfectly well as a renderer for playback,
perhaps that ‘only those in the know’ also keeps things pretty simple [see p63]. and can also work with AirPlay devices
status here in the UK is down to its limited However, what’s going on under that over a home network, not to mention also
availability, for in practice Hegel has just slightly severe textured skin is rather more appearing as an endpoint for Roon users, to
five dealers, with three in London and the complex. For a start, the H190 offers which music can be played from a suitable
South East, one in Lancashire and another
in Edinburgh, and they’re all more boutique
than high-street.

MOVING UP A GEAR
Anyway, the fact of the matter is that
Hegel, for all its success (including a
swathe of plaudits from Hi-Fi News and an
EISA Award for its £2200 Röst integrated
amp), deserves to be better known. The
new and very beefy H190 adopts the Röst
formula [HFN Jul ’17] and moves it up a
gear, taking a simple amplifier with plenty
of power – 150W per channel – and adding
to it network capability to allow it to play
music stored on a computer or NAS drive,
or indeed directly from a computer using
a USB Type B connection or from legacy
sources via S/PDIF.
The company describes the H190
as ‘the Hegel embodiment of Powerful
Design’, which is the term it has chosen
to encompass all the in-house technology
within an amplifier that looks deceptively
simple front and back. In fact all there is

RIGHT: Digital board [top left] combines Libre

network and Tenor-based USB solutions with
AKM upsampling and DAC chips. Massive toroid
feeds separate digital, pre and power amp PSUs

60 | www.hifinews.co.uk | JANUARY 2018

server or computer using a Roon remote Class AB and Class A amplifiers, without ABOVE: The H190 is an object lesson in Hegel’s
interface. That this opens up the H190 bringing to the party any of the drawbacks trademark simplicity – just source and volume
to services such as Tidal and also Internet of either topology. controls, a 6.3mm headphone socket, and its
radio is a point worth making too. The DualAmp technology here is found power button hidden under the front panel
across the Hegel range, and rather than
DUAL AMP TECH the usual combined voltage/current gain lower distortion, the company says [see
In the quirky instruction manual, complete modules, uses separate sections first PM’s Lab Report, p63].
with its very Nordic colour photographs, for voltage gain and then current gain, As you might expect for a product
you can read that the new model replaces with the first feeding the second, and no from a manufacturer with a reputation
the H160, the first Hegel product to win an feedback from the current gain to the for fine-sounding DACs and CD players
EISA Award (2015-16). As voltage. This enables – both the HD30 DAC [HFN Jan ’16] and
that was unsurprisingly the company to build Mohican CD player [HFN Oct ’16] have
a bestseller for the ‘The lyrics aren’t its amplifiers in modular earned Outstanding Product badges – the
company, updating to
the H190 was clearly a
going to trouble form using these
‘building blocks’, and
H190 uses Hegel’s in-house digital-to-
analogue conversion technology, based
challenge, but it’s one to any poetry or of course also allows around the synchronised upsampling
which Hegel has applied the relatively delicate it calls ‘SynchroDAC’ – minimising both
its in-house technology, literature awards’ signals in the voltage jitter and conversion errors. This system
dating back to founder stage to be kept away was developed in-house and is all part of
Bent Holter’s university thesis and early from the heavy lifting going on in the Hegel’s philosophy of controlling every
days building amps for his rock-metal speaker-driving current section. element of the signal path. In practice, the
group, The Hegel Band. In addition separate power supplies H190’s DAC section is based around one of
There’s more on Hegel’s broader are used for the input and voltage gain Asahi Kasei’s Velvet Sound AK4490 DACs,
outlook in the boxout below, but for this sections, and then for the current gain also used in Hegel’s HD30, and employs
new generation of amplifiers the company stages. This separation goes all the the same novel upsampling regime
has reworked its SoundEngine design. This way back to individual windings on the described in detail in PM’s Opinion page
employs a proprietary formula of ‘local custom transformer, through independent from the same issue.
error cancelling and adaptive feed forward rectification and capacitor smoothing.
technology’ rather than conventional Combining this with the DualAmp and REAL POWER
global feedback to reduce distortions, and SoundEngine design elements is Hegel’s All this in-house technology pays off
is said to combine all the virtues of both way of achieving wider dynamic range with in the sound of Hegel’s latest network
amp, which is nothing short of really
HEGEL’S HELPING HAND very wonderful, irrespective of input
or playback methodology. From the off
The attention to detail Hegel brings to everything it does is worthy of comment, the H190 impresses with a presentation
not just in the design of its products but also the way the company helps that’s deliciously immediate and totally
the buyer. The guides provided on its website are exemplary, from providing free-breathing, giving everything played a
‘walkthrough’ downloads for setting up your computer with the H190’s USB vitality and vivacity that’s both immediately
input to a very comprehensive guide to choosing and using a NAS drive to attention-grabbing and proving highly
store your music. The advice is frank and to the point – ‘We use QNAP... They rewarding in the long-term.
are a little more expensive but are also very easy to use, fast and reliable’ – and This slimline amplifier attacks music
pragmatic – ‘The new SSD drives are a lot faster compared to the classic 5400 or with a sense of purpose that matches its
7200rpm drives. Choosing an SSD drive assures quick access to your songs’. somewhat utilitarian styling – and boy, is it
Note that Hegel makes no claims for better sound from SSDs, only speed, powerful! That doesn’t just mean that it’ll
but it’s impressive that the company has taken the trouble to cover an aspect go loud, regardless of the speakers with
of network audio usually left to retailers, not all of whom really know their which you use it. Rather, its reserves are
stuff in this area. So often, the new enthusiast’s learning process finds its way in evidence not just in the way it swings
into endless questions on Internet forums of dubious merit. The Hegel guide instantaneous dynamic peaks, making
is very comprehensive, and a definite case of ‘going the extra mile’ – other it a fine choice for dramatic orchestral
manufacturers in the ‘computer audio’ sector would do well to take note. music, but also in the speed and detail
in its delivery of the music, meaning

JANUARY 2018 | www.hifinews.co.uk | 61

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 LAB
REPORT
AMPLIFIER/USB DAC HEGEL H190
To all intents and purposes, the H190 is a ‘doubled-up Röst’
[HFN Jul ’17], the latter’s 75W specification increased to
150W here and exceeded in practice with 2x175W/8ohm and
2x280W/4ohm. Under dynamic conditions output improves
to 230W, 412W and 692W (18.6A) into 8, 4 and 2ohm loads
though, like the Röst, current limiting means there’s only 60W
permitted into 1ohm loads [see Graph 1, below]. Otherwise, the
H190 offers a wide 5Hz-60kHz analogue response (±1dB), enjoys
a healthy 90dB A-wtd S/N ratio (re. 0dBW), a sensible +31.5dB
overall gain and – importantly – a tailored 0.017–0.035%
distortion (20Hz-20kHz) that’s impressively consistent with both
ABOVE: To the left of the rear panel are fixed and variable level preamp outs, plus output level and load impedance [again, see Graph 1].
The H190 takes its digital cues from the upsampling method
two sets of RCA ins and one balanced XLR pair. The digital section has three optical revealed in the HD30 DAC [HFN Jan ’16]. So, while CD/48kHz
and one coaxial in, a USB Type B and an Ethernet port for computer connection and 96kHz media all witness a treble lift of +0.14dB/20kHz and
+0.6dB/45kHz, respectively, Hegel’s ~100kHz resampling means
microdynamics are handled as well drive relentlessly thanks to the well- that 176.4kHz+ incoming rates see a response that peaks at
+0.6dB/43kHz before dropping very steeply thereafter. This
as the big, obvious power plays. defined bass, and there’s striking
technique optimises the distortion and linearity of the ‘premium
It’s a beautifully precise sound, but texturing to the various strands 32-bit’ AK4490 DAC, delivering a mere 0.00006% THD through
with not a hint of excessive control of the music, greatly enhancing midrange frequencies via the H190’s fixed-level (2.4V) preamp
about it, nor any mechanical quality. the rewards of repeated listening. outputs. OK, so the 102.8dB A-wtd S/N won’t set any records,
just as the 955ohm source impedance is disappointingly high,
Whether playing music that’s Indeed, there’s not much sign of
but distortion holds to 0.0017% at 20kHz/0dBFs and lower
streamed over a network or fed dimming of the light going on here, still at 0.00075% for 20kHz/–10dBFs [see Graph 2]. Of most
in through the analogue or digital and the H190 revels in the richness significance, perhaps, is the astonishingly low correlated and
inputs, this is one of those amplifiers of the soundscapes conjured up. noise-like jitter of just ~10psec – in marked contrast to the result
that simply sounds right as soon as What’s more, treat it to the obtained with Convert’s Tempus in this same issue [see p44]. PM
you start listening. simple but demanding sound
of lusciously recorded piano,
ENVELOPING SOUNDSTAGE particularly in the hands of Leif
What’s more, it exerts a solid grip Ove Andsnes on his recent Sibelius
on the partnering loudspeakers, keyboard works set [Sony Classical
so the bass on Wu-Tang’s The Saga 88985408502] and the H190
Continues [36 Chambers/eOne flexes its dynamic muscles to create
SPV285362 CD] sounded both an almost palpable sense of the
extended and tight, impulsive and instrument in the room.
with real growl when heard through Maybe it’s an all-Nordic thing, but
floorstanders able to exploit the the way Hegel’s new amplifier plays
H190’s extension. Meanwhile this music, with spine-tingling clarity
the rest of the frequency range and delicacy backed up with that ABOVE: Dynamic power output versus distortion into
integrates seamlessly, and there’s power in reserve, is never less than 8ohm (black trace), 4ohm (red), 2ohm (blue) and
a particularly realistic bite and entirely captivating, with the sound 1ohm (green) speaker loads. Max. current is 18.6A
snap in the treble. OK, so the lyrics as intriguing as the composition and
here aren’t going to trouble any performance. If ever you needed a
poetry or literature awards, and are demonstration that open dynamics
indeed fairly predictable examples are about more than ‘quiet, quiet,
of the genre, and this is hardly an quiet, loud’, this CD, played via the
object lesson in recorded dynamic H190, could just be it – the music
range, but there’s no denying that just flies by, and has you playing it all
this amplifier makes every word over again to enjoy every element.
intelligible, for good or bad.
For greater clarity there’s the HI-FI NEWS VERDICT
folk-rock sound of Robert Plant’s
The H190 is another striking
Carry Fire [Nonesuch 7559- ABOVE: Distortion versus 24-bit digital signal level
addition to the Hegel roster, and
79349-3, 96kHz/24-bit]. This over a 120dB range at 1kHz (black) and 20kHz (blue)
it’s easy to see why the brand is
sees the H190 playing more to
going from being an ‘alternative’
its considerable strengths, with a HI-FI NEWS SPECIFICATIONS
choice to a key player in the
broad, deep, enveloping soundstage
audio arena: this is a well-judged Continuous power (<1% THD, 8/4ohm) 175W / 280W
around which the dense weave of
amplifier in terms of features, but
instrumentation can wrap itself, Dynamic power (<1% THD, 8/4/2/1ohm) 230W / 412W / 692W / 60W
manages its flexibility without
and Plant’s voice out front against Output impedance (20Hz–20kHz) 0.014–0.045ohm (955ohm, pre)
any compromise to its sound. And
the wash of the band in the busier
that sound is fresh, captivating, Freq. resp. (20Hz–20kHz/100kHz) –0.1 to –0.17dB / –2.3dB
tracks, and strikingly close-focused
finely controlled, never the Digital jitter (S/PDIF / USB) <10psec / 20psec
in the quieter passages. Rhythms
slightest bit dull and more often A-wtd S/N ratio (re. 0dBW/0dBFs) 89.9dB (Analogue) / 102.8dB (Dig)
than not just plain fascinating.
Distortion (20Hz-20kHz, 10W/0dBFs) 0.017–0.035%/0.00006–0.0017%
Sound Quality: 88% Power consumption (idle/rated o/p) 30W / 510W (W standby)
0 - - - - - - - - 100
Dimensions (WHD) / Weight 430x120x410mm / 19kg

JANUARY 2018 | www.hifinews.co.uk | 63

 Two-way standmount loudspeaker
Made by: Franco Serblin Studio, Vicenza, Italy
Supplied by: Absolute Sounds Ltd, UK
Telephone: 0045 9684 5100
Web: www.francoserblin.it; www.absolutesounds.com
LOUDSPEAKER Price: £7500

Franco Serblin
Accordo
At long last, we get our hands on the iconic Franco
Serblin Accordo. Does it redefine the small loudspeaker?
Review: Ken Kessler Lab: Keith Howard
e may have waited over five I know Franco’s name is famous and

W years to review the Franco

Serblin Accordo but, as I
found within five seconds of
switching them on, it was worth the hold-
up. The Accordo is one of the late Franco
I want to keep the brand going, and to
pay homage to his design philosophy’.
Favela’s company continues to produce
all three of the Franco Serblin speakers, but
he also revealed ‘During the last two years,
Serblin’s last designs, chronologically falling I have been working on a fourth model that
in between the Ktema and the Lignea, he left to me. It is taking time and care to
and its appeal to the archetypal British achieve good sound and ideal aesthetics,
audiophile is blatantly but Franco taught me
overwhelming. With its that if you have the
predecessor and follow-up ‘What nailed me passion, then dreams can
both floorstanders, the
Accordo differs as a petite
to the chair come true’.
With the Accordo, you
two-way standmount,
complete with a 740mm
was a mere two quickly see the cabinet’s
extreme asymmetry, and
angled pedestal. The drum beats’ this angularity ensures
Accordo is sold in mirror- that set-up is achingly
imaged pairs, in walnut for £7500 with the critical. The only speakers I can think of
integral stands, or in high-gloss grey for an with as strict a positioning regime are
additional £300. Wilson’s, sited to the centimetre, and,
unsurprisingly, most Sonus fabers – both
DREAMS FULFILLED Serblin era and post-Serblin.
Carrying on the Serblin legacy after As expected of Franco, the sculpted
Franco’s untimely passing in 2013 is looks are augmented by build quality of
his son-in-law, Massimiliano Favela. He the highest order and the arch-shaped
explained that the Accordo was born of enclosure is reinforced with a ‘decoupling
Franco’s love for small speakers, ‘for their aluminium-magnesium component to
discreet presence and for their suitability in obtain resonance control’. The appearance
less critical environments, for the “magic” is enhanced by grilles made up of elastic
which they often are able to recreate’. The strings, a concept directly descending from
Accordo was designed with its uniquely the original Sonus faber Guarneri, while the
shaped cabinet and a stand encasing the black columns sit on massive chrome bases
crossover network as the ultimate solution to prevent them from tipping over. As I’ve
to avoid transducer interference. just mentioned, these uprights also contain
In keeping with Franco’s strict criteria, the crossover networks and multi-way
Accordos are made from solid walnut. binding posts near their base.
Because of this, ‘All the processes to obtain On the top of the stand is an aperture
one single cabinet require lot of time. through which a pro-grade cinch connector
The drying of the wood to get the right emerges, mating with a female connector
stability requires six to eight months at on the speaker’s underside, while the top
least. Everything is undertaken in Vicenza:
the aluminium chroming treatment, the RIGHT: The elegantly-shaped cabinets are
stainless steel spikes and bolts hand- mirror images of each other and combine a
brushed under strictly quality control, the 29mm silk-dome tweeter with a 150mm
sound checking – that’s the reason we can pulp-coned mid/bass unit. The detachable
only produce a few batches per year. ‘grille’ is composed of black elastic strands

64 | www.hifinews.co.uk | JANUARY 2018

 THE MA
MAN, THE BRAND
How do I write about one of my mentors, without getting all misty-eyed?
Whatever anyone cares to posit, Franco Serblin, through his first brand,
Sonus faber, did more to influence the look of dynamic speakers than
any designer since the early 1980s. Although Serblin was not trained
in electronics, he was a passionate music lover and a true aesthete. He
grasped – decades before those who followed – that hi-fi was suffering
because of the domestic unacceptability of cumbersome boxes. Serblin
chose instead to house the drivers and crossovers in boxes made of real
wood, with furniture-grade finishes, and with the edges rounded. They
looked sculptural rather than coffin-like.
He pioneered unusual grilles, tapered-back enclosures, stands that didn’t
look like surplus scaffolding. Almost every major speaker brand has since
aped the Sonus faber ‘look’ in one way or another. His eponymous sequel to
Sonus faber continues his belief that speakers must recreate the soundstage
with great accuracy if everything else is to be correct. Why the huge success
of Sonus faber? Simple: the speakers sounded as beautiful as they looked.

plate is drilled for two bolts that lock the open-reel tapes (via a Sony TC-755) when
speaker to the stand. Overall, it’s a thing the Accordos arrived, and kicked off the
of beauty, so svelte that its overall height sessions with the US pre-recorded tape of
(1.1m) is countered by the sheer sleekness. Beatles VI [Capitol L2358] – the Americans’
Inside the cabinet is a 29mm silk-dome mash-up of Beatles For Sale and the UK
tweeter designed by Sonus faber co- version of Help!. It was a life-changer, hot
founder Ragnar Lian, and the result of an on the heels of stacked LS3/5As, in part
on-going project that ran for over 30 years. because I was still reeling (!) from the
The 150mm ‘sliced paper’ cone mid-woofer sound of the Fab Four on tape.
is custom-made and optimised to control Like all Yankee baby boomers, I ‘hear’ US
break-up. The crossover uses Serblin’s rather than UK track listings, and this was
minimalist approach, first experienced in always one of my favourite LPs because it
his Sonus faber period – low-order, ‘phase contained five of my all-time most-loved
coherent’, and voiced ‘to achieve precise mop-top masterpieces. What nailed me to
soundstaging, focus and depth of image’. the chair was a mere two drum beats at
As with everything about the Accordo, it 30 seconds into ‘Every Little Thing’. Stage
uses premium parts. right, a couple of hammerings of the tom-
tom (or timpani?) delivered the percussive
PERCUSSIVE THRILLS thrills I usually expect only of Kodo drums
Desperate to hear the Accordos in my via some loony-tunes audiophile pressing.
room, I wired them up to my Audio Despite an absence of truly deep, quartet-
Research REF 6 preamp [HFN May 16] and of-15in-woofer-type bass, the minuscule
REF 75SE power amp with Crystal Cable. Accordos delivered the proper, complete
I fed it with LP after LP via my SME 30/12, and convincing sensation of man pounding
with London Gold cartridge via an EAT a taut drumhead, moving lots of air.
E-Glo phono stage. As much as I wish to A small, simple thing, but the authenticity
portray the first salvo in a rush to play was undeniable, confirmed by the more
concomitant with a virgin male meeting his powerful percussive opening to ‘What
Mrs Robinson for the first time, it was far You’re Doing’.
more measured than that. I followed the
set-up guidance for toe-in, distances from IN THE ROOM
walls, with or without a foam bung in the Ah, what a reveal! ‘Tell Me What You See’
rear port. These speakers demand as for harmonies, tambourine and electric
much free space as you can give them. piano. The build-up and the clapping on
They sounded best with the drivers ‘Eight Days A Week.’ The luscious, lyrical
pointed to an apex of a triangle just in and utterly peerless guitar twanging that
front of the seat, and with one’s ears at opens and underscores ‘Words Of Love’.
tweeter height. And the vocals! So natural, so sibilance-
A single adjective kept popping into free, so, so in-the-room! I could go on...
my head, regardless of the music: silky. so how to dispel accusations of foregone
No, I didn’t turn to Boz Scaggs or the conclusions? Despite all my prejudices, a
Pretty Things so I could torment you with part of me is even tougher than might be
puns. As it turned out, I was listening to deemed necessary on anything toward

JANUARY 2018 | www.hifinews.co.uk | 65

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 LAB
REPORT
FRANCO SERBLIN ACCORDO
Were the Accordo to achieve its specified 87dB sensitivity
it would be a surprise for so diminutive a cabinet, so it was
LEFT: The solid wood cabinet ‘hand
predictable that it shouldn’t. Our pink noise figure of 85.1dB
crafted by master artisans’ is further (200Hz-20kHz) is much more in line with expectations for a
reinforced with aluminium/magnesium standmount speaker of this size. Franco Serblin could have
alloy. The speaker terminals, and opted to increase it a little by lowering the impedance further
crossover, are isolated within the stand but appears to have chosen to keep the Accordo relatively
easy to drive. Our measured minimum of 4.1ohm is slightly
above the specified nominal figure of 4ohm, which is unusual,
masterpiece – it was wall-to-wall and impedance phase angles are sufficiently well controlled,
stereo, with every instrument particularly at low frequencies, that the EPDR (equivalent peak
enjoying its own turf, and with dissipation resistance) bottoms out at 2.2ohm/127Hz, although
a second dip to 2.4ohm/457Hz complicates the issue.
possibly the best front-to-back Forward frequency responses for the review pair, measured
depth I’ve encountered this side of at a distance of 1m on the tweeter axis, show a slightly
a Quad ’57. I could hear Franco’s downward trend [see Graph 1, below] through the presence
measured tones, telling me about band after which there is narrow 4dB suckout near 5kHz and
shelved up upper-treble output thereafter. Response errors are
why his speakers had a ‘hot seat’
a little high at ±4.4dB and ±3.9dB, respectively, as is the pair
for optimum listening. Sure, they’re matching error of ±1.3dB over the same 200Hz-20kHz frequency
fine off-axis, but the prime listening range. Diffraction correction for such an unusual cabinet shape
seat, with everything in focus, yields is difficult but our nearfield measurement of bass response
shows its extension to reach 62Hz (–6dB re. 200Hz) rising a little
about as convincing a 3D space
to 70Hz with the foam port bungs inserted. High distortion at
as one could desire. Yet this is not 100Hz was to be expected given the diameter of the bass-mid
a speaker for everyone, because driver but 1.5% at 1kHz (90dB/1m) was still disappointing. The
– convincing scale and abundant measurement was repeated with the same result. The CSD
detail aside – its lower registers waterfall [Graph 2] reveals a series of treble resonances. KH
are typical of a speaker limited
by a 150mm woofer. They are
lightweight, and bass addicts might
find them wanting.

A BIG HIT
Fortuitously, a batch of RCA ‘Living
Stereo’s came my way thanks to
an old friend, so I was feeding the
Accordos with what are generally
regarded as some of the best-
sounding LPs ever issued. Perez
Prado’s Big Hits By Prado [RCA ABOVE: The Accordo’s response shows a slightly
LSP-2104] is a perfectly recorded recessed presence band but a bright treble thereafter
orchestra, and all it took was a burst
of ‘Cherry Pink And Apple Blossom
White’, with the volume turned up
to much louder than one expects of
a small box, to hear that orchestra
in my room. And, yes, it was, indeed, dB 0.0
as ‘silky’ as could be. Brass that -6 1.0
punches like Tyson... shimmer... - 12
2.0
which I might seem pre-disposed. So sheen. I’m in love. - 18
8
3.0
I turned to a milestone album that - 24
4.0
was of dubious sonic worth. HI-FI NEWS VERDICT - 30

Yes, Derek & the Dominos’ Layla 5.0 msec

Take this with a caveat, as I’m 200 1000 10000
has been ‘audiophiled’ to death
Frequency in Hz >>
biased toward 1) small, beautiful
despite its occasionally muddy, ABOVE: The solid little cabinet is well damped but
speakers and 2) anything Italian.
murky sound – which actually suits driver resonances are visible through the treble >4kHz
That said, my reaction heightened
the swamp-rock nature of the album.
by years of anticipation, the HI-FI NEWS SPECIFICATIONS
While its stereo properties are HI-FI NEWS SPECIFICATIONS
Accordo is one of the most
beyond question, it takes something
alluring, nay, seductive speakers I Sensitivity (SPL/1m/2.83Vrms – Mean/IEC/Music) 86.1dB/85.1dB/84.5dB
like the latest Mobile Fidelity two-LP
have ever heard. It commandeers Impedance modulus min/max (20Hz–20kHz) 4.1ohm @ 192Hz
version [MFSL 2-470] to peel away
the term ‘musical’ and makes 33.6ohm @ 2.4kHz
a layer of grunge. What Layla did
it its own, the way Joe Cocker Impedance phase min/max (20Hz–20kHz) –48o @ 104Hz
for me was provide a taste of – if
stole ‘With A Little Help From My 52o @ 1.3kHz
not quite the final word on – the
Friends.’ Forgive the melodrama, Pair matching/Response Error (200Hz–20kHz) ±1.3dB/ ±4.4dB/±3.9dB
Accordo’s ability to convey a sense
but this is a speaker ‘to die for.’ LF/HF extension (–6dB ref 200Hz/10kHz) 62Hz / 33.2kHz/31.3kHz
of grandeur in direct opposition to
its diminutive size. Sound Quality: 87% THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 1.8% / 1.5% / 0.3%
A Spectorian wall of sound filled 0 - - - - - - - - 100 Dimensions (HWD) 360x190x360mm
the room, but – unlike a Spector

JANUARY 2018 | www.hifinews.co.uk | 67

 Factory-terminated loudspeaker cables
Made by: QED (Armour Home Electronics Ltd)
Supplied by: Armour Home Electronics Ltd, Herts
Telephone: 01279 501111
Web: www.qed.co.uk; www.armourhome.co.uk
Price: £1760 (5m stereo set, terminated in expanding 4mm plugs) LOUDSPEAKER CABLE

QED Supremus
As one of the brands that kick-started the cable revolution, QED has always emphasised
value in its designs. The Supremus flagship is no exception. Review & Lab: Paul Miller
hat began with its 42-strand BELOW: QED’s flagship Supremus speaker

W and 79-strand speaker

cables has seen QED on
a journey of discovery
culminating 40 years later in this flagship
Supremus offering. Closer in physical bulk
cable is factory terminated in twist-to-lock
Airloc2 4mm speaker plugs. The unwieldy
nature of the cable places limits on
connections in tight spaces

and generally unwieldiness to a hawser

than a speaker cable, QED’s new top-
of-the range wire has almost nothing in
common with the figure-of-eight-shaped
79-strand cable that was in the vanguard
of that early subjective revolution.
QED, along with Monster, kick-started
a specialist cable industry that has since
grown to global proportions, but the
brand has always evolved its designs in
line with thoroughly researched and, in
my view, sensibly pragmatic engineering
principles. So the Supremus is mercifully
free of snake oil...
A 2m stereo pair costs £860 (or
£1760 for a 5m stereo pair), all
terminated in either cold-welded Airloc2
rhodium-plated 4mm speaker plugs or cryogenically treated copper strands that metal-stringed guitar and swift tap of
spades. Under that tightly constrained are silver-plated and then individually percussion had a ‘snap’ that was both
and semi-translucent bronze-coloured insulated from one another by a fresh and vital sounding. The exquisitely-
jacket, QED has deployed a symmetrical vanishingly thin enamel coating. These recorded Extra Time by the Jean-Paul
pair of conductors, gently twisted strands are then gently wrapped around Brodbeck Trio [Enja Yellowbird Records;
together with hollow polymer tubes a foamed (low-density) polyethylene (PE) YEB 77742] truly blossomed, as the
to maintain their shape and geometry. core and given an insulating PE jacket. punchy ‘Rocka-Roas’ showcased the
Each conductor comprises 16 5N-quality, QED’s managed geometry and interplay between piano, guitar and
specification is borne out in the lab percussion and the Supremus-equipped
with its Supremus providing a very low system penetrated through to the finest
5.7mohm/m series resistance (a loss of details with no hint of harshness.
of just 0.0062dB/m), a low 48.6pF/m
capacitance and 0.52μH/m loop HI-FI NEWS VERDICT
inductance. If you can deal with the bulk,
Physical flexibility is not the forte of
it’s a perfect contender for long runs.
the Supremus but, partnered with the
lustiest of high current amplifiers and
A SLAM DUNK mightiest of floorstanding loudspeakers,
Deployed with my B&W 800 D3s
it can assist in delivering a mighty
[HFN Oct ’16] and both Devialet and
performance. With very low power loss
Constellation Taurus amps [HFN Dec
across the audioband it’s the perfect
’17], QED’s Supremus cable enabled a
solution for high-end systems that need
huge, and hugely impressive, sound to
remote amplification and long cable
develop in the room. Bass possessed
runs, and all without breaking the bank.
an unfettered slam while the twang of
If you want your system to breathe free,
try dosing it with QED’s Supremus.
LEFT: Detail of QED’s optional spade connector
which is fashioned from a rhodium-plated high Sound Quality: 89%
purity beryllium/copper and bonded to the 0 - - - - - - - - 100
cable with an ‘Airloc cold weld’ to exclude air

JANUARY 2018 | www.hifinews.co.uk | 69

 Closed-back circumaural noise-cancelling headphone
Made by: B&W Group Ltd, West Sussex
Supplied by: B&W Group Ltd
Telephone: 0800 232 1513
Web: www.bowers-wilkins.co.uk
HEADPHONES Price: £329

Bowers & Wilkins PX

It took some time to develop its first noise-cancelling headphones, but Bowers
& Wilkins has thrown down the gauntlet to its rivals with this high-tech PX model
Review: Cliff Joseph Lab: Keith Howard
oise-cancelling headphones supports AptX HD – the latest version of can turn the NC on or off using the controls

N are undoubtedly useful if you

want to relax and block out
the background drone on a
long journey by train or plane, but the
technology can also have a frustrating,
AptX, which claims to provide ‘better than
CD-quality’ wireless streaming at up to
48kHz/24-bit, along with upsampling of
both wired and wireless inputs to 768kHz.
It’s also equipped with the versatile new
on the earpiece, but the Headphones app
(available for iOS and Android) is required
in order to select other features, such as
the ‘City’ or ‘Office’ modes. However, the
app still requires Bluetooth to connect to
deadening impact on sound quality. USB-C interface, which can be used to both the headphones, which means that you’re
And rarely is adding Bluetooth wireless charge the internal battery and handle sometimes forced to turn on your device
streaming a boon to great sound. USB audio from a variety of computers and and briefly activate Bluetooth even if
That’s why Bowers & Wilkins has taken mobile devices. I was pleased to see that listening in wired mode.
so long to release the PX, its first set of B&W provides an adapter And, of course,
noise-cancelling (NC) headphones and a cable for older devices Bluetooth and the noise
design calculated not to mar the listening that don’t have USB-C, ‘The PX tempted cancellation DSP have an
experience. That would be a pretty although it’s odd that effect on battery life too.
impressive achievement in itself, and would it doesn’t also include a
me to go fully This is quoted at 22 hours
justify the £329 price tag that pits it right
up against market-leading rivals such as the
cable for the many laptop
computers that now only
wireless for the when using Bluetooth and
NC together, or 33 hours
Bose QC35. However, B&W has gone even have USB-C. first time’ when using NC in wired
further and equipped the PX headphones There’s also a 1.2m mode. The headphones
with just about every state-of-the-art digital cable with 3.5mm jack included, so the PX also require power even when NC and
feature that it could lay its hands on. can be used as standard wired headphones, Bluetooth are both turned off, although
either with or without noise-cancelling. that should then go up to about 50 hours.
DOWN TO EARTH Neither cable includes in-line controls, but And, to save power, the PX design
Like many new headphones, the PX offers I like the playback and volume buttons on includes a motion sensor that can tell when
‘adjustable’ NC with three listening modes the right-hand earpiece, which feel firm you take the headphones off when it will
that are designed for different locations and responsive, and are large enough to automatically pause the music. It will then
and situations. As you’d expect, the primary find easily when needed. The tiny little resume playback when you put them back
‘Flight’ mode is intended for travellers buttons for power and NC are a little more on again, or switch them into standby
who want to block out engine noise in an fiddly, though, especially as the power mode if you don’t use the headphones for
aircraft cabin. However, the NC features button performs multiple functions. a few minutes.
can also be used when you come back The B&W Headphones app can be
down to earth as well. There’s an ‘Office’ somewhat irksome at times as well. You LONGTERM COMFORT
mode that relaxes the noise-cancellation Of course, none of that smart tech would
enough to allow you to hear voices around matter if the headphones themselves
you in a busy office. And if you’re weren’t up to scratch, but the PX proves
strolling around town and looking more than capable of standing on its own
cool with your cans then the two feet. The 40mm drivers are based on
‘City’ mode will allow you to those developed for B&W’s well-
listen out for traffic... received P9 Signature ’phones
That’s a common [HFN Mar ’17], with similar
option with many recent earpieces that are angled
headphones, as is support slightly forward to mimic
for the AptX version of the effect of listening to
Bluetooth, but the PX goes external speakers. You
further than many rivals. can also fold the earpieces
For example, it’s the first set flat to save space when
of headphones we’ve seen that you’re carrying them in their
smart, padded pouch.
RIGHT: The PXs include a range of high-tech The earpieces are smaller than the
features, with good battery life, effective noise- P9’s, though, and fit more tightly around
cancellation, AptX HD and USB-C connectivity the ear in order to form an effective seal

70 | www.hifinews.co.uk
ws.co.uk | JANUARY
JANUAR
RY 2018
2 18
8
 LEFT: The PX’s 40mm drivers are based on
those developed for B&W’s impressive P9
Signature, and angled slightly forward in order
to open up the soundstage and mimic the
effect of listening to external speakers

[O; 14th Floor Records 5050466-4788-

5-6] had a lightness of touch via the PXs
that captured the hesitancy in his vocals,
and the warmth of the gently strummed
guitar. There was a bitter-sweet edge to
the sound, as the deep, wistful tone of
the cello accompanied the chorus and
then hung in the air as though afraid to
let go. The angled design of the earpieces
might seem like a bit of a gimmick, but the
sound is relaxed and open, so that it felt as
though Rice was sitting there, strumming
away in front of me.

CATHEDRAL OF SOUND
The headphones also managed to cope
with the soaring cathedral of sound
invoked by the Pro Cantione Antiqua
choral singers on their recording of
‘Spem In Alium’ [Tallis – Spem In Alium;
Alto ALC1082]. The piece starts gently,
and the PX tracked the intertwining
melodies as each of the eight separate
choirs joined in. The various groups of
choristers remained clear and distinct, and
even the quiet, whispered voices in the
background remained audible throughout.
Furthermore, while the tight fit and
closed-back design of the earpieces can
feel a little claustrophobic at times, the
and provide good noise-insulation. The somewhat vice-like at first, so it might take PX was still able to achieve a great sense
adjustable, padded headband is sturdy a little while to wear them in. Nevertheless, of grandeur and scale as the piece built
enough to cope with life on the road and depending on hat-size, your mileage will towards its peak.
grips fairly tightly, but the padded leather surely vary! Of course, the PX is primarily designed
earpieces feel comfortable enough to wear as a set of travelling headphones, and I was
for long periods of time. RELAXED AND OPEN pleased to find they continued to perform
However, while the PX isn’t terribly Auditioned as plain-vanilla wired ’phones well with my mobile music set-up, listening
heavy (only weighing around 350g via Pro-Ject’s Pre Box DS2 Digital [HFN to the lossless music files on my iPhone via
with its cable) the combination of the Nov ’17], the gentle acoustic sound of the sturdy RHA Dacamp L1 [HFN Apr ’17].
tight headband and earpieces can feel ‘The Blower’s Daughter’ by Damien Rice The PX kept the same clarity and detail in
the layered voices, and the sense of space
NOISE ABATEMENT was impressive and dramatic for a portable
set of headphones in this price range. But,
In most of the best noise cancelling (NC) headphones it is arranged that their as we’ve seen with other B&W headphones
frequency response remains largely unaltered whether NC is engaged or in the past, the PX does go a little
disabled, to ensure consistency of sound quality. But in the PX this is not the overboard with the lower-mid and bass
case. When the Environment Filter is set to ‘Office’ (the mildest of the three frequencies. To be fair, this didn’t seem
NC regimes) the PX’s frequency response does indeed remain the same as like a glaring weakness – in fact, the deep
when the Filter is disabled. But on the two more effective NC settings – ‘City’ rumble of the PX was quite effective with
and ‘Flight’ – the frequency response, and hence the perceived tonal balance, the ambient electronics of Max Richter’s
changes markedly. Subtracting the responses results in a complex difference but, ‘Shadow Journal’ [The Blue Notebooks;
essentially, with ‘City’ or ‘Flight’ the PX’s output increases a little below 45Hz DG 479-4443], producing an ominous,
(+1.3dB at 20Hz) and a lot at two frequencies in the presence band: +2.5dB at subterranean rumble that was well suited
2.2kHz and +5.8dB at 3.4kHz. Elsewhere output is reduced, by an average of to the mood of the piece.
about 2.5dB from 100Hz to 1.6kHz and 3.5dB above 4.5kHz. Whichever tonal But the PX did sound a little unbalanced
balance you prefer, the PX will not deliver it in all modes. KH when I turned to some more densely
arranged tracks. I liked the firm thud

JANUARY 2018 | www.hifinews.co.uk | 71

 LAB
REPORT
BOWERS & WILKINS PX
We tested the PX exclusively via its analogue input with noise
cancelling off. As its gain controls operate only with digital
signals, it necessarily has a fixed sensitivity: we measured
117.5dB for 1V input at 1kHz, averaged for the two capsules, so
with an analogue source it acts like a conventional headphone
with slightly above-average sensitivity. The difference is that the
PX has higher input impedance – around 850ohm – so draws
much less drive current. A surprise was discovering that the PX is
polarity inverting. You can argue all you like about whether this
is audible or not, but the plain fact is it shouldn’t be the case.
Previous B&Ws that we’ve measured [P3; P7, HFN Aug ’14; P9
Signature, HFN Mar ’17] have all been characterised by tonal
balances which strongly favour lower-midrange and bass, and
the PX is a chip off the same block.
The uncorrected frequency responses [Graph 1] are rather
different at low frequencies for the two capsules, suggesting a
sealing issue with the right side. No matter how carefully it was
placed on the artificial ear, it never matched the LF output of
the left capsule – which presumably demonstrates the intended
response. The hump in output below 900Hz is obvious, as is a
lower, narrower peak at 2-3kHz than conventionally considered
necessary to achieve neutral tonal balance.
Because of this LF disparity, the third-octave corrected
responses [Graph 2, below], which are based on the average
of the two capsule responses, are if anything less fulsome in
the bass than they should be but still demonstrate an obvious
lower-mid/bass excess. The perceived frequency response above
of the slap-bass on ‘The Big Sky ABOVE: Compact over-ear design helps 1kHz is much flatter but for the expected dip around 3kHz. Not
indicated in any of the measurements is that the PX – again in
(Meteorological Mix)’ by Kate to form a noise-insulating seal but, along line with previous B&Ws – has headband vibrational issues at LF,
Bush [Hounds Of Love; EMI 7243- with the tight grip of the headband, the although it lacks the higher frequency ping previously caused by
8-57978-2-8] and the crashing PX can take a little while to get used to thin wire capsule hangers. KH
avalanche of drums, but the
chanting vocals that lead towards with the NC DSP switched on, but
the end of the song were a little the PX is otherwise a match for any
overpowered by the bass-heavy of its rivals in this regard.
sound and didn’t quite ring out as The headphones even performed
clearly as perhaps they should. well when I activated Bluetooth
streaming and ‘Flight’ mode
THE SOUND OF SILENCE together. Ordinarily, I draw the
The wired connection worked well, line at using Bluetooth, yet the PX
so I stayed in wired mode when managed to avoid much of the
turning on the noise-cancelling muffling effect normally associated
feature for the first time (tested with this technology. In fact, the
with a number of background noise PX tempted me to go fully wireless ABOVE: Unequalised responses (L/R, grey/red;
files from www.mynoise.net). As for the first time, so while there are average 3rd-octave, black). Poorer capsule sealing on
KH’s Lab Tests revealed [see boxout, few mobile devices that currently the right
g results in a reduced bass output
p vs. the left
p71], the mildest ‘Office’ mode has support AptX HD, that option does
little effect on frequency response, mean that the PX also offers a
and the PX continues to deliver degree of future-proofing, and holds
strong sound quality while allowing out the prospect of real hi-fi quality
voices to stand out more in the wireless audio in the future.
background. I was less impressed by
‘City’ mode, which serves its safety- HI-FI NEWS VERDICT
first purpose by letting in traffic
The slightly heavy bass may not
noise, but sounded rather cluttered
appeal to everyone, but B&W’s
and did prove a bit distracting while
PX is still money well spent, even
listening to music.
if you primarily use it as a set
But, of course, it’s the full ABOVE: Third-octave freq. resp. (red = Harman
of wired headphones. But the HI-FI NEWS SPECIFICATIONS
noise-cancellation of ‘Flight’ mode corrected; cyan = FF corrected; green = DF corrected)
PX will also earn its keep when
that will appeal to the travelling
travelling, thanks to its effective
audiophile. The soundstage of HI-FI NEWS SPECIFICATIONS
noise-cancellation that still
the PX did seem just a little more
manages to provide a detailed, Sensitivity (SPL at 1kHz for 1Vrms input) 117.5dB
constrained in ‘Flight’ mode,
attractive sound quality. And with Impedance modulus min/max (20Hz-20kHz) 846ohm @ 20kHz
but the detail and richness of
AptX HD and USB-C, it provides 904ohm @ 20Hz
instruments and voices remained
good connectivity for the next Capsule matching (40Hz-10kHz) ±10.4dB
impressive while it went about the
generation of mobile devices too.
task of blocking out the rumbling LF extension (–6dB ref. 200Hz) 22Hz
background noise very effectively Sound Quality: 80% Distortion 100Hz/1kHz (for 90dB SPL) 0.1% / 0.4%
indeed. Ultimate sound quality 0 - - - - - - - - 100 Weight (inc cable) 350g
certainly takes a slight downturn

JANUARY 2018 | www.hifinews.co.uk | 73

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 Classical Companion
BEHIND THE MUSIC WITH HI-FI NEWS & RECORD REVIEW

Rudolf Serkin
Concert pianist and teacher
When not teaching and playing world-wide, he recorded a substantial repertoire from
Bach to Reger. But Beethoven was his biggest challenge, says Christopher Breunig
t’s a cliche with an inherent
è In the HMV Bach Brandenburg Concertos

I snobbism (however irresistible

for pianophiles) – ‘You go to a
recital by X to see them play the
piano but to Y’s to hear the music’.
This month’s Classical Companion,
American
Columbia
1950s,
Rudolf Serkin’s

recordings
set, produced at Abbey Road with
the Adolf Busch Chamber Players,
although his debut there was in
1929, with Bach sonatas, then
Beethoven and Brahms a year or so
Rudolf Serkin (1903-91) appeared here later. Serkin’s first Appassionata was
was unquestionably in the latter on Philips’ labels recorded for HMV in 1936 (for the
category. Albeit there were aspects complete discography by Youngrok
to his live performances that some Lee see www.classite.com).
critics deplored.
Incidentally, Vladimir Horowitz ENDLESS PRACTICE
(whom most of us would put in Serkin was not a ‘completist’ – not
the ‘X’ group) was one of Serkin’s all of the 32 Beethoven Sonatas,
closest admirers, and it was he who or a full overview of the Mozart
persuaded Horowitz to return to
the concert platform after a 12-year
break triggered by self-doubts.
í Serkin left
Europe
in 1939 to live
he met the young George Szell (the
start of a life-long collaborative
friendship). But a key move to Berlin
Concertos (although the later
series with LSO/Abbado for DG was
planned to be complete). But as
Born into a Russian-Jewish family in the United in 1920, invited by the violinist a recent Sony 75CD reissue set
in a part of Bohemia, and showing States, where he and quartet founder Adolf Busch to shows [see facing page], there
an aptitude for the pianoforte, he later co-founded take part in a recital, launched his were multiple studio recordings
began music tuition in Vienna aged the Vermont performing career. Rudi became ‘the of major works: four of the two
nine, later studying composition Marlboro fifth member of the Quartet’ and in Brahms Concertos, five versions
with Arnold Schoenberg, and where Festivals 1936 he married Busch’s daughter of Beethoven’s Fourth (one
Irene, the family moving away from with Toscanini, 1944) and four
Germany with the rise of Nazism to ‘Emperors’. Cycles with conductors
the States via Switzerland. Ozawa and Kubelík are published
Serkin taught there at the Curtis on other labels. With the Brahms
Institute, Philadelphia, from 1939 B-flat (No 2) the 1956 with Ormandy
and was appointed was the best. It
Director from came out here on
1968 to ’76 – ‘“When I finished Philips [ABL3170]
although the book
Rudolf Serkin: A
the Goldbergs but is no longer
available
Life, which you
can read online,
there were only separately.
I was lucky
relates that he was four people left”’ enough to sit
shabbily treated in on a planned
there at the end (‘a disgrace’ said CBS remake of Beethoven’s Piano
conductor Eugene Ormandy). Sonata Op.109 at Abbey Road
PHOTO: DON HUNSTEIN/SONY MUSIC ENTERTAINMENT

His US debut as concerto soloist Studios, Serkin only briefly checking

was in 1936 with Italian conductor playbacks but hurrying back to
Arturo Toscanini and the New York practice before the next take – the
Philharmonic – which he described whole sonata from beginning to end
as ‘one of the highest flights of my rather than ‘patches’.
life’. His first Carnegie Hall recital He liked the edition I had
came a year later. brought along, as it was Tovey’s,
Before his American period, a former friend’s. He wished the
he and his father-in-law were instrument could sustain a longer
recording 78s in London. Serkin fadeaway after the final chord and
was continuo player in the 1935 was reassured by the producer, the

76 | www.hifinews.co.uk | JANUARY 2018

 late Paul Myers, that this could be
done in post-production. But the
recording was never issued.
è Sony’s
75CD
box-set spans
The Sony hardback book, which the period from
gives full production details and 1941 to ’85 with
dates and has a necessary index, solo, chamber
has essays by Peter Serkin, et al, and music and
confirms that constant practice was piano concerto
the norm. As Jeremy Siepmann said, recordings
Serkin was ‘a passionate puritan’ [88985404062]
in a constant struggle with the
instrument to realise his beliefs.
As you can hear on the records,
he was wont to sing as he played
and, seen live, while he sat straight-
backed he stamped on the floor and
pedals and drew his hands back from
the keys as if electrified, dynamics
were often harshly percussive (hence
writers such as Meirion Bowen could
not stand him!).
You had to put up with that in In 1950 their Vermont Festivals from the way I conceive it,’ Serkin
order to learn something about began, with concerts directed by wrote to Irene. In the UK the critical
the music you were hearing. Rudolf musicians of the calibre of cellist adulation for Casals was perhaps
Serkin was a teacher rather than an Pablo Casals and violinist Alexander influenced by his political stance
entertainer, in any sense. Schneider. Recordings followed, against Franco’s dictatorship, like
There was no postwar Bach eg, Mozart Piano Concertos under that of Toscanini against Fascism.
Goldbergs in the discography, Schneider; the Beethoven Cello It is in Beethoven that we hear
Sonatas and Variations with Casals Serkin at his best, and in the boxout
(in fact done in Perpignan and I have chosen the well engineered
Prades, where the Catalan had just Piano Concertos on Orfeo not least
started his own festival). for a recording that’s preferable
PHOTO: DON HUNSTEIN/SONY MUSIC

ë Serkin
recorded
many times with
VIENNA FAREWELL
The Beethoven LPs were regarded
to Sony’s. What’s in the big box is
largely downloadable piecemeal [see
Presto Classical].
the Hungarian highly in their day – before being At 78 he began recording for
émigré swept aside by the more efficient, Deutsche Grammophon, and live
conductor of better engineered Fournier/Gulda performances of Beethoven’s last
the Philadelphia and Rostropovich/Richter sets – three sonatas, given in Oct ’87 at
Orchestra, though Casals was not easy to the Vienna Konzerthaus, formed an
merely the Aria (his son admirably Eugene Ormandy partner, ‘Much was, and is, different apt swansong [427 498-2].
filled that breach for RCA). But he
did admit that, as a teenager and
encouraged by Busch to play an ESSENTIAL RECORDINGS
encore he’d asked ‘What shall I
play?’. “The Goldberg Variations,” Beethoven: Piano Concertos Brahms: Cello Sonatas Nos 1 and 2
Busch replied, as a joke. And I took Orfeo d’Or 647053 (three discs) DG 479 3767
him seriously. When I finished there Concert recordings with Kubelík and the Recorded in Jul ’82 with Mstislav Rostropovich
were only four people left – Adolf Bavarian RSO from Oct/Nov 1977, live at the Kennedy Center Washington.
Busch, Arthur Schnabel, Alfred alternatives to Bernstein/Ormandy on Sony.
Einstein [the Munich musicologist Mozart: Piano Concertos K413 and K466
who updated the Köchel Mozart Beethoven: Diabelli Variations, etc Speakers Corner Columbia MS 6049 (180g LP)
catalogue] and me.’ BBC Legends BBCL4211-2 (two discs) Newly remastered from the analogue tapes,
The big Sony set also has two RFH live (1969): an outstanding account of the August 1957 Mozart performances with
Brandenburg Concertos, Nos 4 and Beethoven with late Brahms and Mendelssohn. Schneider and the Marlboro Festival Orchestra
5, but these are 1960s versions with (Beethoven cadenzas in the D-minor).
the Marlboro Festival Orchestra. Brahms : Piano Concerto No 2
Back in the 1940s Busch and Serkin Sony G010001040004S (download only) Schubert: ‘The Trout’ Piano Quintet
had come to live in Vermont, and This stereo version with the Cleveland Speakers Corner Columbia MS 7067 (180g LP)
with fellow refugees flautist Marcel Orchestra and George Szell is from Jan ’66 A 1967 Marlboro recording with Serkin and
Moyse, his son Louis and daughter- and coupled with Brahms’s four piano pieces string players Jaime Laredo, Philipp Naegele,
in-law Blanche, were able to set up Op.119 (Vermont, May ’79). Leslie Parnas and Julius Levine.
a summer school for music students.

JANUARY 2018 | www.hifinews.co.uk | 77

 STEVE SUTHERLAND

Vinyl Release
BEHIND THE MUSIC WITH HI-FI NEWS & RECORD REVIEW
Steve edited NME from 1992-2000, the Britpop
years, launching NME.com and reviving the
NME Awards. Previously he was Assistant
Editor on Melody Maker. Among his many
adventures he has been physically threatened
by Axl Rose, hung out awhile with Jerry Garcia
and had a drink or two with Keith Richards...

Woody Guthrie
Dust Bowl Ballads
Where are all today’s protest singers and their songs,
wonders Steve Sutherland, as he hears the 180g reissue
of an album from the great granddaddy of them all?
‘ y legacy has its roots in my extravaganza at the 2016 Super Bowl and Haven but Guthrie was soon dubbing it

M father’s legacy.’ Donald Trump.

When American athletes
recently chose to ‘take the
knee’ rather than stand for pre-match
national anthems in protest against
Eminem’s recent anti-Trump rant aside,
confrontational musical output has been
lacking. Where are all the protest singers?
Where are all the protest songs?
Such conjecture has led many an
‘Bitch Havens’ after alleging that it was
being run along the Federal Housing
Authority’s racist guidelines for avoiding
‘inharmonious uses of housing’. In other
words, it was whites only.
institutionalised racism, President Trump oldster to ponder what a youthful Chuck D Guthrie then did what he did best and
called for those who participated to be would have had to say about the current recorded his disgust in a song called ‘Old
sacked. It was a call to arms which served goings-on in Washington? Man Trump’: ‘I suppose
to provoke many an argument pertaining Or Nina Simone? Or that Old Man Trump
to patriotism and honour, not to mention a spring chicken Bob ‘Guthrie wrote knows just how much
decorum and decency. Dylan? Or even that great
granddaddy of all modern
about Trump. racial hate/He stirred
up in that bloodpot of
MUSICAL VOICES
But it also raised other issues, such as how
protest, Woody Guthrie?
Well, I don’t know about
Not Donald, but human hearts/When he
drawed that colour line/
come it has suddenly fallen upon athletes all the rest but amazingly his dad, Fred’ Here at his Beach Haven
to take the fore in opposition? Of course, we don’t have to hazard family project... Beach
they have their sporting precedents a guess at what Woodrow Haven ain’t my home!... Beach Haven is
from back in the 1960s with Wilson Guthrie would Trump’s Tower/Where no black folks come
Muhammad Ali’s anti-Vietnam War have made of the to roam/No, no, Old Man Trump!/Old Beach
stance and the Olympian black current President and Haven ain’t my home!’
power salutes of Tommy Smith his shenanigans
and John Carlos. But in the because he actually TRIPLE DISCS
past it was musical voices that did write a song Guthrie’s protest was set to the tune of ‘I
were raised loudest against about Trump, albeit Ain’t Got No Home In This World Anymore’,
injustice. Beyonce’s ‘Black not Donald but his a song he’d recorded a decade earlier for
Lives Matter’ half time dad, Fred. Dust Bowl Ballads, which goes down in the
This came about annals as one of the first concept albums
because in December ever. Commissioned by the Victor label
1950, Guthrie leased a and recorded at the company’s studio
new apartment in Brooklyn in Camden, New Jersey, it was originally
which had been built and was being released as two triple disc 78s, the material
managed by Trump Snr on a eventually being gathered together on one
subsidy from the Federal Housing LP in 1964 by Folkways.
Authority in its desperate bid Dust Bowl Ballads, Guthrie’s debut,
to provide accommodation documented his life as an Okie. This was
for servicemen returning from the term given to the Oklahoman farmers
overseas duty. Trump’s and their families who were driven from
block was called Beach their lands in the 1930s when poor
agricultural practice rendered the soil
prey to wind erosion which caused a
mighty drought and eventually made their
livelihoods – and lives – untenable.
Guthrie, who’d been born in Okemah in
1912, became one of the great misplaced
and joined the millions of migrants heading
West to the so-called promised land of
California, only to find that, far from a

ì Woodrow Wilson Guthrie pictured in 1943. Guthrie married three times and fathered eight
children, including the folk musician Arlo Guthrie. He died in New York in 1967, aged 55
paradise of opportunity, they confronted
unemployment, poverty, police brutality

78 | www.hifinews.co.uk | JANUARY 2018

ì Priced £21.50, the 180g vinyl reissue of
Woody Guthrie’s Dust Bowl Ballads can
be ordered online at www.amazon.co.uk

and starvation. Guthrie’s Dust Bowl

Ballads is a chronicle of this environmental
and humanitarian disaster, the musical
equivalent of John Steinbeck’s devastating
novel, The Grapes Of Wrath whose hero (if
you can call him that) Tom Joad, Guthrie
brings to life in song.
The album, which is basically just
Guthrie singing accompanied by his guitar,
is full of numbers which have maintained
their impact down the years. There’s
‘Vigilante Man’ (about the thugs hired by
businessmen to keep the Okies off their
land), ‘Pretty Boy Floyd’ (about a man an epiphany... I could sing all these songs, dollars every week just to quit singing my
driven to live outside the law) and ‘Do Re every single one of them and they were all own kind of songs and to sing the kind that
Mi’ (a warning not to believe the grass is that I wanted to sing. It was like I had been knock you down still farther and the ones
any greener on the other side). in the dark and someone had turned on the that poke fun at you even more and the
Then there’s the aforementioned ‘I main switch of a lightning-conductor.’ ones that make you think you’ve not any
Ain’t Got No Home In This World Anymore’ sense at all. But I decided a long time ago
(about death’s blessed relief from UNSHAKABLE VISION that I’d starve to death before I’d sing any
earthly struggles) and ‘Dust Pneumonia As stunning a documentary as Dust Bowl such songs as that.
Blues’ (about the lasting effects of such Ballads is, even more incredible is that ‘The radio waves and your movies and
devastation) to mention but a few. Guthrie was driven by an unshakable your jukeboxes and your songbooks are
vision and purpose. To him, songs weren’t already loaded down and running over with
TOUGH LISTEN entertainment, they were weapons. such no good songs as that anyhow.’
Make no mistake, Dust Bowl Ballads is ‘I hate a song that makes you think that D’you know what? The world badly
absolutely, unprecedentedly brilliant but you are not any good,’ he said once. ‘I hate needs a new Woody, right now.
it’s a hell of a tough, raw listen. Steinbeck a song that makes you think that you are
called it a collection of ‘Hard-hitting just born to lose. Bound to lose. No good
songs for hard-hit people,’ and went on to to nobody. No good for nothing. Because RE-RELEASE VERDICT
describe it thus: ‘Harsh voiced and nasal, you are too old or too young or too fat or Released on the Music On Vinyl label
his guitar hanging like a tire iron on a rusty too slim too ugly or too this or too that. [MOVLP1750], which describes the album
rim, there is nothing sweet about the songs ‘Songs that run you down or poke fun as ‘an inspiration for Dylan, Cash and
he sings. But there is something more at you on account of your bad luck or hard Springsteen’, this 14-track reissue on 180g
important for those who will listen. There is travelling. I am out to fight those songs vinyl comes in a 3mm-thick card sleeve
the will of the people to endure and fight to my very last breath of air and my last containing an insert with liner notes,
against oppression. I think we call this the drop of blood. I am out to sing songs that background story and exclusive pictures.
American spirit.’ will prove to you that this is your world As we’ve come to expect from MOV, our
When Bob Dylan first encountered and that if it has hit you pretty hard and copy was silent and ruler-flat, meaning
Dust Bowl Ballads as a young, prospective knocked you for a dozen loops, no matter this recording made in 1940 rang clear and
poet/musician, the impact was seismic: what colour, what size you are, how you sounded fresh. Buy from Amazon UK and
‘(His songs) made my head spin, made me are built, I am out to sing songs that make you will receive a free MP3 download of
want to gasp...’ he said. ‘He was so poetic you take pride in yourself and in your work. the album under its AutoRip scheme. HFN
and tough and rhythmic... The songs ‘And the songs that I sing are made up Sound Quality: 80%
themselves, his repertoire, were really for the most part by all sorts of folks just
0 - - - - - - - - 100
beyond category. They had the infinite about like you. I could hire out to the other
sweep of humanity in them... For me it was side, the big money side, and get several

JANUARY 2018 | www.hifinews.co.uk | 79

 VINYL ICONS
BEHIND THE MUSIC WITH HI-FI NEWS & RECORD REVIEW

Status Quo Piledriver

With psychedelia on the wane, a semi-successful ’60s chart group decided to swap their
dandy suits for denim then make up for a lack of sophisticated musical chops with highly
addictive melodies served up on a bed of straight-ahead smokin’ boogie...
Words: Mike Barnes

80 | www.hifinews.co.uk | JANUARY 2018

 very group or artist hopes

E to reach a point when their

musicianship, material and
image chimes with their
audience and they find themselves
to be tastemakers rather than
è Status
Quo
(clockwise
from top
left): Alan
trying to play catch-up. Historically Lancaster,
this has often resulted when an Rick Parfitt,
artist has filled a gap with music Francis Rossi
familiar enough to be accessible yet and John
different enough to be exciting. Coghlan as
Some artists arrive at this point pictured on
but remain on top only briefly, while the insert
others spend their whole careers sleeves of
trying to chart a path to success yet their Live!
fail to arrive there at all. With Status double LP
Quo, it all clicked into place with from 1976
their 1972 single ‘Paper Plane’ and
their album Piledriver. But
not before some near misses
and a rather bumpy ride
along the way.
g
guitar lines, weird, Rossi has cited it as an indicator of
SCHOOLED IN ROCK d
disoriented lyrics and de things to come. Next they came up
The band that would become ri
rigueur phasing. They with the mid-paced loping blues
known as Status Quo grew a
appeared on Top Of The ‘In My Chair’, written by Rossi with
out of a school R&B band first P
Pops dressed like dandies songwriting partner, road manager,
called The Scorpions and then i psychedelic finery and
in harmonica player and unofficial fifth
The Spectres. Francis Rossi h a further hit that
had member, Bob Young.
played guitar and sang, Alan y
year with ‘Ice In The Sun’, The song features some
Lancaster played bass and which went Top 10 in tough, angular guitar work and a
also sang, on drums was John the UK. But psychedelia memorable tune with a strange
Coghlan and Roy Lynes played
keyboards. The group released three é French
pressing
was already drawing to a close
and a major rethink was required if
lyric alluding to an out of body
experience. It caught the ear of
singles, all of which failed to chart. of the band’s musically the band were not to look Radio One DJs John Peel and Kid
So the group changed their name 1972 single like last year’s thing. Jensen and charted at No 21.
to Traffic. Discovering that a group ‘Paper Plane’ Groups such as Led Zeppelin and
called Traffic already existed they with picture Deep Purple were taking blues, rock CATCHY CHORUS
then changed their name to Traffic sleeve. The and hard rock into heavier territory, Their 1971 album Dog Of Two Head
Jam and finally, in 1967, to Status song reached with lengthy and more ‘progressive’ was a slightly uneven mix of heavy
Quo, at which point Rick Parfitt No 8 in the songs. However, the level of blues and more adventurous styles
joined them on guitar and vocals. UK singles musicianship exhibited by these but the song that was the template
In January 1968, the teenage chart bands was higher for their most
group secured a hit on both sides than Quo could commercially
of the Atlantic with ‘Pictures Of ever aspire to. ‘They beefed up successful work
Matchstickmen’, with its nagging Of course, things was ‘Mean Girl’,
didn’t have to be
rock ’n’ roll to a simple rock ’n’

ç The
group
pictured in
that complicated,
so on their 1970
album, Ma Kelly’s
meet the heavier
tastes of the day’
roll track with an
extremely catchy
chorus. ‘We
September Greasy Spoon, started believing
1969 with Quo explored an earthier blues- in our own stuff,’ Rossi told Sounds
keyboardist rock format. Nonetheless, much of in 1977. ‘We stopped bothering
and singer it was plodding, ordinary fare and with special stage clothes and
Roy Lynes melodically quite thin. realised we could wear jeans and go
(top right) That same year the group used down just as well. And that pleased
who left in the service of little-known Australian us a helluva lot.’
1970 after singer/songwriter Carl Groszman, In 1972 Status Quo were growing
appearing on recording his song ‘Down The in self confidence and encouraged
the first three Dustpipe’, a brisk, boogie shuffle by their new agent, Colin Johnson,
albums track with a strong, simple melody they sought a better deal than
that reached No 12 in the UK charts. the one they had with Pye and

JANUARY 2018 | www.hifinews.co.uk | 81

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 VINYL ICONS

PRODUCTION NOTES
Everything Status Quo had previously
recorded had been produced by John
Schroeder, who worked in-house for
the Pye Label. Now signed to Vertigo,
they were keen to take control in the
studio themselves and for Piledriver
took on production duties for the
first time ever. Vertigo was taking
a pretty big leap of faith when it
backed this strategy.
The band had previously recorded
all their music at Pye Studios but now
upgraded to IBC Studios in Portland
Place, London, which had been used
by The Beatles, Jimi Hendrix and The
Small Faces among others. Not only
that, the label spent an eye-watering
£30,000 for two weeks at IBC when
the usual budget for an album was
only about £2000.
The group were joined for the
signed to Vertigo. Brian Shepherd
was label manager at Vertigo and
was impressed both by their live
released as a single a month ahead
of the album. The band were now
dressed like their denim-clad fans
ë Publicity
shot of
the band from
recording sessions by Bob Young, performances and by the fact that with Rossi wearing his trademark the early ’70s
who plays harmonica on ‘Roadhouse the group had been successful back white t-shirt and dark waistcoat, (l-r) Coghlan,
Blues’, and Jimmy Horowitz, better in the 1960s, but ‘were fighting to tossing back his mane of hair as they Lancaster,
known as an arranger and producer, re-prove themselves’. revved up into the song’s repetitive Parfitt and
who provided occasional keyboards. riff and memorable guitar hooks. Rossi. Parfitt
‘Generally the guitars leapt up in REVVED-UP RIFFS Far from exemplifying Status passed away
the mix. That was when we got into Many bands have found success by Quo’s lack of interest in the in late 2016,
double tracking,’ Rossi said in 2013. synthesising the spirit of rock ’n’ roll form, ‘Paper Plane’ kick-started aged 68
‘The studio at IBC was a huge great and presenting it in a seemingly
room with a high ceiling. We made a
tunnel for the drums and we played
a new way. During
the ’50s and ’60s ‘Vertigo spent an endless series
of hit singles. í Rear
sleeve of
through the stacks.
‘Before that there were always
rock ’n’ roll might
have got kids up
eye-watering £30k Anyone can
knock out a
the 1972 LP
and Vertigo’s
people telling us the guitars were
distorting and we had to turn them
and bopping at
the end of school
when the usual 12-bar boogie,
but what made
early optical
art ‘swirl’
down. Now we were in the studio on discos, but in the budget was £2k’ the group so record label
our own, you hear the actual room.’ 1970s, with its successful
attendant greasy quiffs, drainpipes
and brothel creepers, it seemed like
ancient history.
was their ability to ally that basic
formula of variations on a riff to their
uncanny knack of writing strong,
ê Heads
down
live on stage
What Status Quo did was beef simple pop melodies that always in 1978 at the
it up for the heavier tastes sounded freshly minted. Hammersmith
of the day and deliver it in Opening the album, the blues Odeon in
straight-ahead driving boogie stomper ‘Don’t Waste My Time’ London
style. Rossi’s slightly nasal
delivery and Parfitt’s harmony
vocals were a distinct blend,
lighter and cooler than the
macho hard rock screamers and
bellowers of the day.
As was common at a time when
rock was viewed more seriously than
Perhaps more important was the pop, Rossi made a defiant statement
fact that the group not only worked against the group trying too hard to
hard but in an atmosphere that was get a piece of the commercial pie
both harmonious and creative. ‘We’d via singles – not least as they had
sit in a circle surrounded by amps struggled to replicate their early
and just play,’ said Rossi. ‘Everyone chart success. But in an appearance
had eye contact with one another. on Top Of The Pops in November
The magic just flowed. It would give 1972, Status Quo presented ‘Paper
you goose pimples.’ Plane’, a track from Piledriver

JANUARY 2018 | www.hifinews.co.uk | 83

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 Alternate Format
Discography
‘Unspoken Words’, ‘Paper Plane’
and its B-side, ‘Softer Ride’.
The second disc also includes
a BBC In Concert from the Paris
Theatre, London, recorded on
March 1st 1973. This is of particular
interest since it shows how the
material from Piledriver was slotted
in between old favourites such as
the band’s 1970 hit single ‘In My
ED FIELDING

Chair’; ‘Railroad’ and ‘Somebody’s

Waiting’ from the 1971 album Dog
ORIGINAL LP (1972) tracks: ‘Joanne’, which was the Of Two Head; and a cover of Chuck

ì Parfitt and Rossi at Harrogate

International Centre in 2006
Piledriver was released on the
Vertigo label in a gatefold sleeve
in December 1972 [6360082].
B-side of the single ‘Caroline’ from
1973; and ‘Lonely Night’, the B-side
of ‘Break The Rules’ (1974).
Berry’s Bye Bye Johnny. The Deluxe
Edition comes with a booklet
containing photos, memorabilia
shows that Status Quo may have Like the music, the sleeve artwork and interview-based notes by
chosen a pared down, heavier was a no-nonsense affair with REMASTERED CD (2005) journalist Dave Ling.
approach, but the whole group now Rossi, Parfitt and Lancaster in The album was remastered in 2005
played like an incisive rhythm unit hair-down mode on the front and by former recording artist Tim CD-R (2014)
and with great feel. a garishly painted cartoon of a Turan at Turan Audio in Oxford. In a discography of few oddities
They achieve a relentless King Kong-like gorilla malevolently It was re-released on CD across and rarities, one in particular that
momentum on ‘Oh Baby’, while brandishing a bomb on the rear. European territories by Mercury/ stands out is a limited edition
‘Big Fat Mama’ – would anyone Some UK pressings came with Universal [982 597-7] with one CD-R promo sampler in a card
call a song by that title these the older Vertigo black and white extra track, a live version of ‘Don’t slipcase on Mercury of the double
days? – is a rocker that involves a optical (op-art) ‘swirl’ label, while Waste My Time’. This had originally CD deluxe edition, which was
few nifty manoeuvres. It’s not all later 1972 pressings arrived with featured on the live compilation made in a limited run of 50 copies
one-dimensional, with ‘Unspoken the new blue and green spaceship album, Reading Festival 1973, [3766019]. As if its rock ’n’ roll
Words’ being a slow blues with an labels, both of which were that had been released in February credentials weren’t enough already,
impressively fluid Rossi solo. And designed by Roger Dean. 1974 on GM Records [GML 1008]. Piledriver gave its name to a beer
while the ballad ‘All The Reasons’ is The 1972 US version had a produced by the Oxfordshire-based
something of a weak link, it leads gatefold sleeve and was released Wychwood brewery.
to an appropriately juggernaut-like by A&M with orange labels. The The bottle labels feature the
cover of The Doors’ ‘Roadhouse Canadian version, also on A&M, bomb-wielding gorilla pictured on
Blues’, which is transformed by a had bronze labels. Both have the the rear of the original LP sleeve.
three part vocal harmony coming in catalogue number SP 4381. The CD-R discs were handed out
towards the end. at a launch party for the beer on
CASSETTE & 8-TRACK (1973) February the 7th 2014. It features
CASCADE OF HAIR Piledriver appeared on 8-track ‘Paper Plane’, ‘Don’t Waste My
Status Quo’s approach to their music cartridge in the UK on Vertigo in Time’, ‘Big Fat Mama’, a John Peel
was lampooned by a 1974 New 1973 [7739 009] with the song Session version of ‘Softer Ride’ and
Musical Express article headlined ‘All The Reasons’ split between a live ‘In My Chair’.
‘Heads Down No Nonsense Mindless parts ‘C’ and ‘D’. The cassette
Boogie’ and Alberto Y Lost Trios version also came out on Vertigo SHM-CD (2013) SPECIAL VINYL VERSION (2017)
Paranoias recorded a song of that in the UK that year [PRIMC 17] and In 2013 Piledriver was released on A standard LP in a gatefold sleeve
name, which was a Quo parody. But in France [7138 047]. SHM-CD by Vertigo/Mercury [UICY- was released on Vertigo in Europe
what did they care? 75692] in the Japanese ‘Paper in 2015 [4723762]. Of particular
The front cover of Piledriver FIRST CD (1990) Sleeve’ series. The sleeve was a interest to collectors, though, is
features a photo of Parfitt, Rossi and Manufactured in Germany in 1990 card replica of the original gatefold a blue vinyl LP, also in a gatefold
Lancaster standing in a line with by reissue specialists Repertoire, LP cover with the lyrics in English sleeve of which just 1500 copies
their heads all down in a cascade of the first CD of the album [REP and with the track titles translated were produced. It was released
hair – an invitation to their audience 4119-WP] includes two extra into Japanese on a yellow obi strip. to mark HMV Vinyl Week 2017
to join them in a spot of head- [Vertigo/Mercury/UMC 5738263].
banging – which they duly accepted. DELUXE EDITION (2014)
The 1970s saw the group registering In 2014 Mercury/Universal released
16 hit singles and 11 hit albums, a deluxe version of the album
three of which went to No 1. [3766019]. The 2CD set – one
‘Piledriver took off and it black, one white, both with the
snowballed from there,’ said Rossi Vertigo swirl – is based on the
when interviewed in 2013. ‘It was a 2005 remaster. The first CD
bit of a surprise, because before you comprises the songs that made up
get into this business you think how the original album. The second CD
fantastic it must be to get in there. is made up of BBC radio sessions
So to a degree, it’s a surprise when from 1972 and ’73 and features
you finally do.’ ‘Don’t Waste My Time’, ‘Oh Baby’,

JANUARY 2018 | www.hifinews.co.uk | 85

 Meet the Producers
MEET THE PRODUCERS
BEHIND THE MUSIC WITH HI-FI NEWS & RECORD REVIEW

Bob Ezrin
This Canadian-born producer has manned the boards for numerous classic albums and
isn’t afraid to use unorthodox methods in the studio to bring the drama of music to life.
Steve Sutherland considers the work of Bob Ezrin – ‘the king of the concept album’
o, the story goes that Lou

S Reed, uncharacteristically
smitten with a cover version
of his ‘Rock & Roll’ recorded
by Detroit musician Mitch Ryder,
demands to meet the producer. This
è Bob
Ezrin
pictured in
2010. He
was born
just happens to be a young Canadian in Toronto,
hotshot called Bob Ezrin, who’d Ontario,
recently cut his teeth sculpting Alice Canada on
Cooper from a no-mouth-and-all- March the
trousers local bar band into a global 25th, 1949
shock-rock phenomenon.
Anyway, Lou summons Bob to
one of his gigs and the pair end
up at Bob’s place where Bob,
overawed and not a little fearful
of Lou’s legendary pugnacious
reputation, happens to pipe
up that he’s a big fan of
Lou’s, especially of the way
that his songs tell stories.

STEPHEN DYRGAS
Or, at least, start to.

HARROWING LISTEN
Lou looks quizzical, so Bob
explains. Lou is a master at toddles off to write a ‘movie them. Bob’s version has always been
setting up dramatic scenarios for the ears’ which Bob then that he simply threatened them with
and populating them with proceeds to ensure is one of an early bedtime but no-one with a
gripping characters but never the most harrowing listens ever thirst for legend is buying that.
seems to see them through. For captured on tape. Whatever the truth, Lou was
example, what the hell happened to
Caroline and Jim off Lou’s first LP? é Label
of Lou
The song cycle recounts the
disintegration of the relationship
delighted and Berlin’s reputation has
grown over the ensuing years from
What’s the rest of their story? Lou’s Reed’s between the aforementioned pair; ‘patently offensive’ (original Rolling
tickled pink at this notion and duly 1973 album Jim, who’s a speed-freak beating Stone review) to be considered one
Berlin, the Caroline black and blue until she of its author’s crowning glories, Lou
tragic and at commits suicide. The centrepiece of always gracefully acknowledging
times brutal this work – which was released to Bob’s part in its brilliance.
‘rock opera’ quite a lot of critical hostility under
created in the title Berlin – is a song called ‘The RIOTING SPROGS
response Kids’ which, if he’d done nothing And Bob… well, children were to
to Ezrin’s else at all in his illustrious career, feature in other recordings. A year
observations would surely have cemented Bob earlier he’d masterminded Alice
about Reed’s firmly in the production firmament. Cooper’s classic ‘School’s Out’,
past songs The song deals with Caroline complete with the rioting sprogs
being judged an unfit mother and at the end. And later, with Pink

ç Promo
shot
of Lou Reed
having her children taken away. It’s a
situation rendered aurally well-nigh
unbearable by the sound of sobbing,
Floyd stuck in a bit of a rut trying to
construct their Wall, Bob once again
called in the kindergarten cavalry
released screaming, pleading children. The to the rescue. ‘We don’t need no
in 1980 by apocryphal version is that Bob edukashun’, indeed.
Arista, which achieved this effect by telling his The thing with Bob though –
is now sister own two small nippers that their kiddie gimmick aside – is that he
DAVID GAHR

label to RCA mum had just been killed in an became the go-to guy for artists
accident. Either that, or he beat who had designs on making albums

86 | www.hifinews.co.uk | JANUARY 2018

 DANIEL BOUD
with more ambition than to be
mere collections of disparate songs.
Bob was king of the concept album
ë Peter
Gabriel’s
1977 debut
where all the parts add up to a kind LP, produced
of operatic whole. His albums tell by Ezrin
stories. ‘For me,’ he says, ‘it’s always
been about music as a vehicle to put
forward some special idea.’ ì Kiss live
on stage
in Sydney in
GLAMMY HOPEFULS March 2013
How this all came about was that
Bob, already an accomplished
musician and performer since
childhood, came to work under
ì ’The
future of
rock music’...
the tutelage of a chap called Jack Alice Cooper
Richardson who ran a production in 1973 talking about social issues or their
company called Nimbus 9. Jack own insecurities,’ is how he recalls it.
was famous for producing The
Guess Who, one of Canada’s most
successful musical exports at the
ì Peter
Gabriel
live in 1978
‘Then this band hit the stage like
a group of theatrical ghouls, with
their instruments and props and
to play our instruments and re-learn
how to write songs”,’ explains
Alice. ‘We looked at each other and
time, and Bob was a quick learner. amazing lights, and proceeded to said, “Who wants to hit him with
One day he was sent out to
basically get this bunch of glammy
hopefuls off Jack’s back. They’d
í Alice
Cooper
and solo LP,
do a show that was as much theatre
as it was rock music. The show took
us through all kinds
a frying pan?”’ ‘What we did was
complete reconstructive surgery,’ is
how Bob puts it.
been hassling Jack to pr
p oduce them
produce Welcome To of strangeg Twilight
Twil
ill ‘We would come
so Bob set off to Neww York on a My Nightmare Zone-like shortt ‘To create the up with ideas
mission to disappoint.. ‘You have to
understand that I wass just 19 years
stories involvin
variety of twist
n a
involving
t
twisted
party vibe, Ezrin and then take
those ideas right
ike most kids
old at the time. And like
d to rock music
of the ’60s, I was used
characters and d
weird tales. By the
raced around down to the bare
chassis – the first
being played by angryy young men end of it, they had the studio naked’ chord progression,
rts and jeans,
with beards and T-shirts basically given us and three lines
an hour and a half of theatrical and of melody – and then proceed to
musical experie e
experience. And I thought, rebuild an entire song around that.’
this is the futur
futurer of rock music.’
Reporting b back to base, his boss INSANE ASYLUM
wasn’t buy y
buying but Bob pestered Bob’s methodology was to
and peste e
pestered until he was completely immerse the band in
chucked the gig himself, their act so when Alice was singing
whereup p he embarked on
whereupon about being in an insane asylum,
the procc
process which led Vince Bob would strap him into a straight-
Furnier, MMr Alice Cooper jacket in the studio. And later,
himself, tto dub Bob ‘our very when producing Mr Cooper’s solo
own George
Geo o Martin’. LP, Welcome To My Nightmare, he
‘Bob c comes in and goes, could tell the singer was struggling
“The firstt thing we’re gonna do for inspiration so he invited a whole
is take six m
months off and learn circus troupe – clowns, acrobats,

JANUARY 2018 | www.hifinews.co.uk | 87

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 MEET THE PRODUCERS
BEHIND THE MUSIC WITH HI-FI NEWS & RECORD REVIEW

1972 1973 1975 1976 1977 1979 1979

One of a string Ezrin uses the The first single Ezrin writes a ‘Solsbury Hill’, ‘We don’t do Written by Nils
of classic Alice voices of children to be taken from piano figure that the first single singles,’ say Lofgren and Dick
Cooper albums to dramatise Alice Cooper’s turns the Kiss taken from Peter the band. Ezrin Wagner, who
produced by Lou Reed’s album, Welcome song ‘Beth’ into a Gabriel’s debut has other ideas had written for
Ezrin, School’s album Berlin. On To My Nightmare, romantic ballad. solo album, is a as he cooks up Alice Cooper and
Out sees the release Rolling the ballad ‘Only It is still the Top 20 hit in the ‘Another Brick In played in Lou
title track built Stone magazine Women’ gives the band’s highest UK and reaches The Wall (Pt II)’. Reed’s band,
up from a single declares the LP singer one of his charting single in No 68 on the It remains Pink ‘Shine Silently’
guitar lick to give ‘a disaster’, but it biggest hits as it the US, peaking Billboard Hot 100 Floyd’s only No 1 is produced by
the band its first peaks at No 7 in reaches No 12 in at No 7 Ezrin and is a hit
and only UK No 1 the UK charts the US chart across Europe

jugglers, dwarves – into the studio out acts and scenes, where it’s this: being schooled in
to get the great man going. He also each scene was a song. And music theory and an expert
admits that once, when a band was I described, with language, engineer, he tends to rebel
too uptight in the studio and not what the song was, and against standard recording
creating the prerequisite party vibe, what it did, and how it practices while adhering to
he disrobed and raced around naked sounded, and what the very traditional song writing
to lighten things up. segue would be from that structures and classical
song into the next. orchestration techniques.
NECESSARY FRIGHT ‘It might be something ‘My enthusiasm is always
Then there was poor Peter Gabriel. like, “Cut to the sound of a infectious,’ is how he
During the recording of his self-titled bomb falling, and before the explains his ability to get
debut solo LP in 1976, he wasn’t
achieving the anguish Bob needed
for a track called
bomb hits the ground, cut to a baby
crying”. It was very much written
like a film script.’
ë Kiss
album
Destroyer, the
the artists he’s working with to go
along with his vision.
‘The bands get caught up in the
‘Modern Love’ so the And then he band’s Ezrin- excitement of trying something
producer had him ‘“I asked for a notched it up produced that’s new for them.
gaffer-taped ten feet
up a pillar to deliver
second verse. another level
by taking the
breakthrough ‘I know that I have a level of
experience and ability that’s
the necessary fright.
But back to Alice.
The result of Bob’s
Waters told me
to bugger off”’
rudiments of
‘Another Brick
In The Wall’ and
î Roger
Waters
performs
different from that of the average
civilian. I am smarter than the
average bear, because I’ve been
boot camp was constructing it into The Wall in doing this for a long time, and have
a quartet of phenomenal smash a single that became a monster hit Ottawa in made a craft out of it. That’s why
hit albums – Love It To Death and on its release in 1979. 2012 you hire a guy like me.’
Killer (1971), School’s Out (’72) and
Billion Dollar Babies (’73) – which CLONING TRACKS
established Alice Cooper as one ‘Basically Pink Floyd refused to do
of the biggest bands in the world singles and all I had was one verse
and led to Bob’s involvement with and one chorus but it sounded like
Kiss for whom he produced 1976’s it could be a hit so I asked Roger
breakthrough album, Destroyer. And Waters for a second verse and
then came the Floyd. chorus and he told me to bugger off.
Invited to help broker an album I ended up cloning the tracks and
out of a band rife with broken splicing the two parts together, then
relationships, he laboured to shape I spliced in two drum fills and put
Roger Waters’ concept of The Wall some kids on the second half, and
by writing a screenplay to guide the extended the song that way.
recording session so nothing was ‘When I played it back to Roger
BRENNAN SCHNELL

ever just a song, everything was an his eyes lit up because he knew it
element in the overall schematic. was going to be a hit.’
‘What I did was to take the story, If Bob has a modus operandi
and the material we had, and write that’s served him down the years,

JANUARY 2018 | www.hifinews.co.uk | 89

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 ALBUM
REVIEWS
ALBUM REVIEWS: VINYL

MICHEL LEGRAND
Legrand Jazz
Impex IMP6028
In small print across the sleeve, below the
title, is the undersized note ‘With Thirty-One
of America’s Greatest Jazzmen Featuring…
[in double the font size] …Miles Davis’. While
conductor/arranger Legrand clearly gave
top billing to the trumpeting god, this 1958
trio of supersessions also included Herbie
Mann, Bill Evans, John Coltrane, Donald Byrd,
Ben Webster, Art Farmer and others of that
calibre, to tally 31 players. The three groups
of tracks range from ensembles of 10-15
performers, covering jazz standards such as
‘Round Midnight’, ‘Stompin’ At The Savoy’
and nine others, with verve and panache. The
music is luscious and this just may be one of the
best-sounding records you’ll ever hear. KK

Sound Quality: 95%

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ETTA JAMES JUDEE SILL RICHARD THOMPSON

The Right Time Heart Food Rumor and Sigh
Pure Pleasure PPAN EKS61347 (180g vinyl) Intervention IR-017 (two 45rpm 180g LPs) Mobile Fidelity MFSL2-476 (two 180g LPs)
This would have been LP of the Month, had This sequel to her eponymous debut, Approaching this with trepidation –
it not arrived in the middle of a quartet of reviewed in Oct ’17, would be the last I despise British finger-in-the-ear folk music
equally fine gems. Legrand has the sonic released in her lifetime. If you fell in to a degree bordering on the psychotic
edge, but equally, this gives you some of love with her music because of it, Heart – and despite knowing that Thompson
the finest-ever moments of Etta at her Food will increase your sadness at her is a guitarist par excellence, I feared this
soulful best, when she was paired with the demise. Released in 1973, it enhanced her might be a 1991 extension of his past,
perfectly complementary Jerry Wexler as reputation with material left over from the ie, Fairports Redux. Boy, was I wrong. This
producer, in a return to Muscle Shoals. Etta first album, but re-recorded for this set, double, if you can bear his as-miserable-as-
never disappointed, and back in ’92 she while stand-out tracks from this eloquent, Morrissey world view, is staggering. From
was on fire: her interpretation of ‘Ninety elegiac singer-songwriter include ‘The Kiss’ the peerless playing to the passionate – and
Nine And A Half Won’t Do’, with the song’s and ‘There’s A Rugged Road’, both oft- I do not use the word loosely – singing, it’s
co-author Steve Cropper on guitar, is one covered. Behind her were stellar musicians a feast of powerful material performed on
of those moments soul fans dream of, while including Chris Ethridge on bass, drummer the edge. Sonically, it approaches demo-
the guest musicians form a who’s who of Jim Gordon, bluegrass deity Doug Dillard LP status, with the guitar work providing
funk. Steve Winwood, Lucky Peterson, Hank on banjo and Buddy Emmons on pedal steel transients and harmonics, and bass and
Crawford, Willie Weeks. Just buy it. KK guitar. Yes, this is another masterpiece. KK percussion delivering slam. Magnificent! KK

Sound Quality: 90% Sound Quality: 90% Sound Quality: 90%

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 AUDIOPHILE: DIGITAL COMPACT DISC SUPERAUDIO DVD BLU-RAY VINYL DOWNLOAD

BOB DYLAN GODLEY & CREME BB LEON & TRIPLE TREAT

John Wesley Harding Body Of Work 1978-1988 Blues Barn
Mobile Fidelity UDSACD 2183 (mono) Polydor/Caroline CAROLR064CD (five discs) Opus 3 OPSA26001
No, I’m not turning into Phil Spector (I Following their monumental 3LP ‘concept’ We haven’t exactly been inundated with
mean his love for mono, not handguns...) Consequences (certainly overdue for a surfeit of blues releases these past few
but here’s another important release, a respectful reissue), this pair, one-half years, so this fresh set from Scandinavian
one that continues MoFi’s restoration of of 10cc, embarked on a career as rock devotees is a welcome surprise. Previewed
the Dylan mono catalogue. This is the video pioneers, but with a steady flow of in the 40th Anniversary Celebration Album,
50th anniversary reissue of the album their own albums. Naturally, this decade- reviewed in HFN Nov ’17, the 12 tracks
that bridged the gap between Blonde On spanning collection sounds manifestly 10cc- cover a myriad blues sub-genres, with the
Blonde and Nashville Skyline and, as such is ish – as all of the members sang – but emphasis on boogie. Sterling slide guitar
country-ish without being as truly C&W as less singles-friendly, with emphasis on work, rich bottom octaves, lots of space
the LP that would follow it. The mono mix experimentation. Despite the abstract and detail: the classic ingredients for an
gives it a rustic feel, and with content that nature, weird sounds and the dazzling flow Opus 3 release with all the audiophile boxes
included ‘All Along The Watchtower’ and of non-sequiturs – all of which continue in ticked, but with the added bonus of musical
‘I’ll Be Your Baby Tonight’, plus ten others, the manner of the equally subversive 10cc worth – note especially a terrific, soulful
backed by three of Nashville’s finest, it is – this collection of six albums and bonus cover of B B King’s ‘Rock Me Baby’. And you
certainly among his best. It would also be material also has the classic hit ‘Cry’ plus a thought that Sweden of late only produced
his last issued in mono and stereo. KK dozen others which should have been. KK grim crime thrillers... KK

Sound Quality: 85% Sound Quality: 85% Sound Quality: 90%

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ELVIS PRESLEY
A Boy From Tupelo
RCA Legacy 88985417732 (three discs; mono)
If the idea of a mono, 85-track, 3CD box set of
archival material strikes you as odd as album
of the month, note the subtitle: ‘The Complete
1953-1955 Recordings’. The is everything Elvis
cut before leaving for RCA and mega-stardom.
The miracle is that it sounds so fresh, so vivid.
Other collections have covered this period, but
I suspect this is the final word, and every Elvis
expert seems to have been consulted. Among
the tracks are his self-made 78s, all the Sun
sessions and every known surviving live and
radio appearance, accompanied by a superb,
heavily-annotated and illustrated 120-page
book, in an 8x8in slipcase. This is one of the
finest examples of rock scholarship I’ve ever
seen. And the music? Revolutionary. KK

Sound Quality: 90%

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 ALBUM
REVIEWS
HI-RES DOWNLOADS

DUO FUKUI-JALLU
Ars Moderna (88.2kHz/24-bit, FLAC)
www.highresaudio.com; Klarthe 3149028106626
Those of the view that audiophiles only
like obscure and ‘plinky-plonky’ music, of
the kind no-one would actually sit down
to listen to for pleasure, are going to have
a field day with the title of this one, but
behind the ‘lost in translation’ is a truly
lovely album. In contrast to our other
squeezebox offering this month on p95
GEORGE WINSTON (and there’s a phrase I never thought
Spring Carousel (96kHz/24-bit, FLAC) I’d find myself writing!), this album is of
www.highresaudio.com; Dancing Cat/RCA Records (no cat no) of a rock track or the Sturm und Drang tango pieces associated with guitarist
Definitely smarter than your average of a big orchestra, the way this set Roberto Grela, and beautifully played by
charity album, this one has been captures the power, light and shade Louise Jallu on bandoneon together with
produced by the veteran pianist to of Winston’s piano will be quite an acclaimed Japanese guitarist Hiroki Fukui.
benefit the Southern Californian eye-opener. From the tinkling ‘Carousel It’s a delightfully simple set, treated to a
hospital where he received bone 1’, opening the album, through to wonderfully intimate recording, combining
transplant surgery a few years back, the infectious ‘Requited Love’, this is crispness and warmth to winning effect.
spending his recovery time in the a masterclass in vibrant, enchanting And boy, can these two play, with an easy
hospital auditorium composing the piano recording. A superb performer rapport and that sense of firing off each
pieces here. OK, so all very worthy, at work, in luminous sound, and all in a other that’s the sign of true musicianship.
but this is also a great album, both in good cause – what’s not to like? AE Quite gorgeous, really... AE
the ease and fluidity of the playing
and above all in the superb sound Sound Quality: 90% Sound Quality: 90%
quality on offer. For anyone thinking
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that dynamics are all about the punch

OUR PROMISE LAB REPORT LAB REPORT

Following our Investigation feature
[HFN, Jun ’11] where we examined
the claimed quality of high-resolution
downloads, Hi-Fi News & Record
Review is now measuring the true
sample rate and bit-depth of the HD
music downloads reviewed on these
pages. These unique reviews will be
a regular source of information for
those seeking new and re-mastered
recordings offered at high sample rates George Winston’s 14th album was Recorded at a DSD-friendly 88.2kHz (but
recorded by Howard Johnston onto not released on SACD), the ~40kHz resp.
and with the promise of delivering
analogue tape (hence the elevated noise) of this rendering is sufficient to capture
the very best sound quality. (Note:
with subsequent mastering in the digital the bandoneon’s 25-30kHz range. There
asterisk in headings denotes technical domain at 96kHz. A thundering dynamic are few signs of overload and very slight
reservation explained below.) PM range is still maximised, however. PM spuriae, but otherwise this is clean. PM

94 | www.hifinews.co.uk | JANUARY 2018

 COMPACT DISC SUPERAUDIO DVD BLU-RAY VINYL DOWNLOAD

TINGVALL TRIO SIMONE KOPMAJER VINCENT PEIRANI, CATHRINE RINGER,

Cirklar (96kHz/24-bit, FLAC)* Good Old Times (88.2kHz & 176.4kHz/24-bit, FLAC)* ROLAND ROMINELLI
www.highresaudio.com; Skip Records SKP 9157-2 www.highresaudio.com; Lucky Mojo Records 9120045196474 Accordéons-nous (96kHz/24-bit, FLAC)*
There’s not exactly a shortage of piano We’re constantly being told times are www.highresaudio.com; Polydor 00602557764635
trio albums out there (despite the strong tough, so if you’ve had to tighten the old As one whose knowledge of the accordion
challenge seemingly being staged by belt and forgo this year’s cruise, then this stretches all the way from ’Allo ’Allo! to the
accordions in this month’s hi-res selection), one could be for you. Put yourself back in Tour de France theme music, I approached
and while Martin Tingvall’s trio’s album the ‘late night and rather overfed Ocean this homage to the instrument over the
starts unpromisingly with the low-key Bar & Lounge’ mood with this collection years with un peu d’inquiétude. However,
‘Evighetsmaskinen’ (it means ‘Eternity of ‘so lightweight they’re almost flimsy’ led by Vincent Peirani – ‘le “Jimi Hendrix”
Machine’) – a mid-set track if ever I heard jazz covers. Austrian singer Kopmajer is de l’accordéon’, apparently – this set is
one – it soon hits its groove with the big in Japan, and that’s not surprising, strangely captivating, with a mixture of
impetus of ‘Bumerang’. That sets the pace given that this is audiophile jazz at its ‘where have I heard that before?’ and
for the rest of the album, notably the pacy finest, of the kind essayed by many a unfamiliar music. It’s all very Gallic, and
‘Skånsk Blues’ and ‘Sjuan’, and while the Japanese chanteuse. True, PM has his own there might be a temptation for quite a lot
set has its contemplative, introspective observations on the provenance of some of of the tracks here to sound a bit similar on
moments – well, it is a jazz trio album, after the tracks – see his Lab Report below –, but a casual listen, but both the performances
all! – there’s more than enough here to there’s no denying the smoothness of the and the recording justify closer attention, at
have the listener coming back for second entire enterprise. Neil Young fans look away which point it’s much easier to appreciate
helpings. True, this isn’t the cleanest- now, but there’s a distinctly ‘John Lewis the quality of both. Yes, the artists will be
sounding recording ever, with occasionally Christmas ad’ cover of ‘Heart Of Gold’, new to most listeners, but this is actually
a bit too much cymbal splash, for example, and while the album undeniably has pretty a fascinating set, and one that rewards
but it’s certainly punchy and definitely pristine sound, it’s unlikely to be one to repeated listens. New accordionistas start
enjoyable – and goes out with bang. AE which you’ll return over and again. AE here, I guess... AE

Sound Quality: 85% Sound Quality: 80% Sound Quality: 80%

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LAB REPORT LAB REPORT LAB REPORT

There’s evidence of mixed sample rate Also available on SACD, this album may The harmonics of sustained accordion
content here (trks 3, 4, 7, 8, 11 and 13) well have been recorded at DSD128 then notes (trks 5, 6 & 11) reach right out
while the piano feed carries a deal of downsampled to 176.4kHz and 88.2kHz to 40kHz but the percussive feeds are
spuriae at 26kHz, 28kHz and 33.7kHz for download. However, trks 1, 3, 10 and occasionally less ‘clean’ (trk 7 & 8) with
[black spectrum]. The final master is 11 [black trace, above] clearly contain signs of peak-level clipping. There’s some
rendered at 96kHz, however. PM upsampled 44.1kHz content... PM mixed sample rate content (trk 14). PM

JANUARY 2018 | www.hifinews.co.uk | 95

 ALBUM
REVIEWS
ROCK

BARENAKED LADIES
Fake Nudes
Vanguard Records 7203308
After 29 years and a dozen multiple award-
winning albums, this lot still never fail to
deliver. There are more exciting bands, and
more successful bands, but there are few who
consistently produce albums that I invariably
enjoy. Millions of people probably only know
them for their theme song to TV’s Big Bang
Theory, but those millions are missing a world
of exquisitely crafted, beautifully sung songs
with lyrics which veer from wryly witty to
heart-achingly sad. On this album, ‘Sunshine’ is
a lovely metaphor, explaining how ‘some-times
the things we love so much just eat us up from
the outside in’, and ‘Bringing It Home’ is a spirit
lifter with an irresistibly chanted hook. I’m
already looking forward to the next album. JBk

Sound Quality: 95%

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TUSKS ETHAN GOLD ELECTRIC EYE

Dissolve Songs From A Toxic Apartment From The Poisonous Tree
One Little Indian TPLP1358CDP Gold Records Gold 007 Jansen Records JANSEN093CD
Tusks is, basically, just one woman, Emily I really want to like this album, because A self-proclaimed ‘psychedelic rock group’
Underhill. She’s hardly a household name, Los Angeles-based Gold is an intelligent, from Bergen in Sweden, the Electric Eye
but her self-produced debut EP, Ink, sensitive, singer-songwriter, but I just can’t foursome are rather more interesting than
clocked up over a million Spotify streams take either his self-absorption or the misery that self-consciously retro description might
plus plays on Radio1, 6Music and BBC he seems determined to wallow in. Even suggest. It is alleged that they ‘play droned-
London. Dissolve is her first full-length in the strummy acoustic ‘Tonight’, after out psych-rock inspired by blues, Indian
album and it’s a thing of great beauty, he declares, ‘I can’t complain, this is the folk music and rock ’n’ roll’, despite which
with Underhill’s lovely voice underscored life I made’, he then spends the rest of the there’s no shortage of stylistic variety and
by diaphanous electronics and, sometimes song complaining. I know he has several admirably astute songcraft on this album.
understated trip-hoppy percussion. She’s good reasons to be miserable (check his The opening harmonised twin-guitar line
capable of everything from intimate bio online!), but a better therapy might be on ‘Rock Pa Nor-ska’ is a corker, and the
whispers to cathedral-filling resonances, to write some songs to cheer himself up. insistent, constantly mutating electronic
and her acclaimed co-producer Brett Cox Recorded entirely in his own apartment, it’s riff that pulses throughout the hypnotic
makes the most of her enormous potential. a harrowing sequence of mainly acoustic ‘Endless Summer’ is captivating. Yes, they’re
Her songs are richly melodic and well worth whimperings, cleverly conceived and undeniably psychedelic, but Electric Eye are
getting to know. JBk executed but intensely depressing. JBk well worth investigating. JBk

Sound Quality: 90% Sound Quality: 80% Sound Quality: 85%

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 JAZZ COMPACT DISC SUPERAUDIO DVD BLU-RAY VINYL DOWNLOAD

JOHN BEASLEY PRESENTS FREDDIE HUBBARD QUINTET JOHN MCLAUGHLIN &

MONK’estra Vol 2 At Onkel Po’s Carnegie Hall THE 4TH DIMENSION
Mack Avenue MAC1125 Jazzline N77046 Live @ Ronnie Scott’s
As with Vol 1 (2016), composer and Jazzline’s latest tranche of recorded-for- Abstract Logix ABLX 058 (also 6-track limited edition LP)
pianist John Beasley explores the broadcast sessions from the Hamburg jazz Anyone who loved The Boston Record
potential of Thelonious Monk’s music in club includes an intense 1982 set from (2014) will relish another live set from the
his own brilliantly unfettered big-band the influential Woody Shaw. But it also same lineup, with bassist Etienne M’Bappé,
arrangements. Dianne Reeves is guest brings this accessible yet stimulating 1978 drummer Ranjit Barot, and Gary Husband
vocalist for a gorgeous ‘Dear Ruby’ (really performance from another very great on keys and drums. This time, four numbers
‘Ruby My Dear’ with Sally Swisher’s lyrics), trumpeter, Freddie Hubbard, on tour with recall the ’70s Mahavishnu Orchestra,
an Ellingtonian ‘Crepuscule With Nellie’ the already brilliant young Billy Childs on as ‘Meeting Of The Spirits’ becomes a
has a beautiful solo from violinist Regina piano and fine saxophonist Hadley Caliman. blistering opener while ‘Miles Beyond’ is
Carter, and saxophonist Kamasi Washington Whether transforming the hummable title a feature for M’Bappé, and you also get
guests on ‘Evidence’. Beasley conjures up a tune from his very commercial The Love ‘Sanctuary’ and ‘Vital Transformation’. The
cinematic bossa background to make ‘Ugly Connection album into a gutsy jazz quintet LP includes these plus ‘Gaza City’ and ‘Here
Beauty’ segue effortlessly into ‘Pannonica’, piece, slowing right down on ‘Here’s That Come The Jiis’. Among the newer songs on
and with Dontae Winslow rapping as well as Rainy Day’ or breaking speed records with the CD is ‘El Hombre Que Sabia’, Husband
trumpeting on a fiery ‘Brake’s Sake’, this is characteristic precision, power and control, nimbly tracking McLaughlin in a flamenco-
music for now, not nostalgia. SH Hubbard is at the height of his powers. SH style tribute to the late Paco de Lucia. SH

Sound Quality: 85% Sound Quality: 80% Sound Quality: 85%

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HIROMI & EDMAR CASTANEDA

Live In Montreal
Telarc TEL00026
Colombian harpist Castaneda moved to NY as
a teenager to join his father, discovered jazz
and, encouraged by Paquito d’Rivera, went on
to an international career. When he met Hiromi
backstage at the 2016 Montreal Jazz Festival,
the two were wowed by each other’s sets, and
for the 2017 festival they joined forces. Here ‘A
Harp In New York’ makes a buoyant and festive
opener, then a breakneck ‘Cantina Band’ from
Star Wars becomes a riot of smashing chords,
while on Castaneda’s ‘For Jaco’ the two wittily
trade dancing bass lines. But the centrepiece
is Hiromi’s superbly descriptive four-part suite
‘The Elements’, exploiting the unique sound
palette of piano and harp to the full. Joyful,
exciting and unmissable. SH

Sound Quality: 90%

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 ALBUM
REVIEWS
CLASSICAL COMPACT DISC SUPERAUDIO DVD BLU-RAY VINYL DOWNLOAD

VAUGHAN WILLIAMS
Symphonies Nos 4 and 6
Hallé Orchestra/Sir Mark Elder
Hallé CD HLL 7547 (downloads to 44.1kHz/24-bit resolution)
Both premiered by Boult, these are the
most disquieting of the Vaughan Williams
symphonies, the violence of No 4 (1935) and
the final desolation of No 6 (1948) suggesting
premonitions of war with Germany, and a post-
nuclear landscape – notions both denied by
RVW. You won’t find a better modern account
of No 4 than Elder’s: in excellent sound too
(historic benchmarks are the composer’s and
the Mitropoulos versions: Naxos and Sony).
No 6 is good too but, curiously, the sound
is comparitively recessed – the two 2016
productions were only six months apart.
Berglund’s 1974 Bournemouth Sixth [EMI] had
the requisite impact and is still current. CB

Sound Quality: 90%

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BEETHOVEN DEBUSSY/FAURÉ MOZART/RAVEL/TCHAIKOVSKY

Piano Sonatas Op.2:3, ‘Moonlight’, ‘Appassionata’, La Mer; Ariettes Oubliées/Pelléas et Mélisande – Piano Concerto K488; ‘Haffner’ & ‘Jupiter’
‘Les Adieux’, Op.111; 32 Variations WoO.80 Suite; Pénélope (Prelude) Symphonies/Rapsodie Espagnole/Symphony No 4
Evgeny Kissin Magdalena Kožená, Deutsches SO/Robin Ticciati Clara Haskil, Philharmonia Orch/Herbert von Karajan
DG 479 7581 (two discs; 3LPs 479 7582) Linn CKD550 (downloads to 192kHz/24-bit resolution) ICA Classics ICAC 5142 (two discs, mono)
For Kissin’s return to DG he’s chosen six live Debussy’s six Verlaine settings, Ariettes Rare examples (from 1955/6) of Festival Hall
performances from different venues, 2006- Oubliées, are recorded here in orchestrated concert performances with Philharmonia/
16. He says the Vienna Musikverein inspires versions by composer/violist Brett Dean. It Karajan. They come from the broadcast
him the most, where he gives the most displays Kožená’s fine musicianship though archives of (Lyrita founder) Richard Itter,
comprehensive ‘Les Adieux’ I’ve ever heard. texts are unclear in the Jesus-Christus-Kirche and the ear soon adjusts to the dated
His exhaustive Op.111 is almost as good. acoustic. Linn’s exemplary booklet essay sound. The Ravel ends with an explosion
Elsewhere – and Kissin’s utter seriousness deals with the interwoven lives of Fauré of colours while in the Mozart symphonies
and technical mastery are never in doubt and Debussy, eg, how the commission for Karajan captures the spirit of the music
– the interpretations are less persuasive. incidental music for Pelléas was refused by in a way absent from his studio remakes.
The Adagio of Op.2:3 he overcomplicates, the latter – arranged by Koechlin the Suite Clara Haskil, meanwhile, phrases with
the ‘Appassionata’ first movement falls into recycles the very familiar Sicilienne, Op.78. memorable elegance. I’d question only the
sections with no cohesive tempo, and the It’s sympathetically performed with Ticciati, Tchaikovsky where Karajan seems to ask for
‘Moonlight’ finale is an outpouring of sound whose La Mer is impressive (but bass drum a Pathétique-like heaviness. The audience
but at the expense of structural form. CB is rather too prominent in the finale). CB loved it though! CB

Sound Quality: 80% Sound Quality: 85% Sound Quality: 70%

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98 | www.hifinews.co.uk | JANUARY 2018

 
 
  




     


 

 



  
  



  
  

 

























 

























     



 

  


 

 

 







 

   

 


























  








 








 






 


















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 OPINION

Paul Miller
Editor
Technician and writer on all things audio for some 30 years, Paul Miller took over
the editor’s chair in 2006. He invented the QC Suite, used across the audio industry

Vinyl’s vanguard
Audiophiles and ‘civilians’ alike are well aware of vinyl’s resurgence, but having visited Pro-Ject’s
new Vienna HQ, Paul Miller wonders whether there is just one big beast left in the jungle

ver wondered what the ‘Vinyl RIGHT: The ‘Vinyl

E Revival’ actually looks like? A

recent press trip organised for
EISA’s hi-fi magazine editors
brought us face-to-face with thousands
of turntables packed and ready for
Revival’ as witnessed
by a warehouse
chock-full of
turntables at
Pro-Ject’s new HQ.
shipment around the world. It was a Between 5000-
salutary sight but Pro-Ject’s new HQ just 10,000 turntables are
outside of Vienna is as much testament warehoused here for
to the boundless energy of CEO Heinz the European market,
Lichtenegger as it is a reflection of the while Pro-Ject’s
phoenix-like reprise of vinyl. factory in Prague
ships directly to the
TO HANG OR SPIN? USA, Australia and
Behind the numbers illustrating the other territories
growth of LP consumption there are two
stories – the followers who buy vinyl as
part of the paraphernalia associated
with their favourite band or performer more choice spanning a wider price range Rathammer. Weigh in all those other
(including the speculators who deal in than ever before, from the likes of Rega’s decks made by Pro-Ject on an OEM basis
rare memorabilia – see p24), and the £250 Planar 1 and Pro-Ject’s £240 EISA for other brands and perhaps over half
music fans who actually listen to the Award-winning Essential III [HFN Jan ’17] the ‘real’ turntables sold worldwide
stuff. They are all buying LPs and some right up to the £90k TechDAS AirForce One originate from this one supplier.
are buying picture frames to mount [HFN Jun ’13] and Clearaudio Statement
them. But a percentage are also buying v2 at £93k [HFN Apr ’16]. Meanwhile the THE APEX BRAND
turntables, and not just the tacky USB- ‘collector’ also has a number of limited Some 28 years ago, Heinz bought the
equipped disc-spinners sold alongside edition decks from which to choose – not last turntable plant in the Czech Republic
the cabbages. I’m talking about least the £6500 gold- to fuel local demand
real turntables that you and I would and-chrome version of for ‘free playback’
recognise as worthy of the name.
While the volume of turntable sales
The Classic produced in
celebration of the VPO’s
‘Around 50% of all – LPs were being
given away in the
is a fraction of that achieved in vinyl’s 175th anniversary [p40]. turntables sold late ’80s/early ’90s!
heyday, the number of individual brands But how do the sales of But he was in the
and models has grown. There is now turntables reflect this over €200 are built right place at the
diversity?
When
by Pro-Ject...’ right time and had
the vision to imagine
pressed on a future that almost
Pro-Ject’s market share, the no-one else in the audio industry was
dominance of this one brand prepared to contemplate.
becomes clear. ‘I would say that As a regional high-end distributor for
more than 40% of all turntables the likes of Sonus faber and D’Agostino,
sold in the world over €200 alongside the brand’s diversification into
are made by Pro-Ject’, said mini-sized hi-fi separates (amplifiers, CD
export sales manager Günter players, DACs, etc, already accounting
for 40% of Pro-Ject’s business), this is less
LEFT: ‘Just a few of my LPs’ – Heinz of a ‘project’ and more like a ‘mission’.
Lichtenegger stands by part of his Indeed, without this singular brand the
vinyl collection in one of three vinyl revival might well have run out of
listening rooms at Pro-Ject’s Vienna HQ gas before we ever noticed it had begun.

JANUARY 2018 | www.hifinews.co.uk | 103

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 OPINION

Barry Fox
Paul Miller
Technology
Editor journalist
Barry Fox trained
Technician in electronics
and writer withaudio
on all things the RAF
for and
someworked as aPaul
30 years, patent agent,
Miller tookbut
overhe
gave that upchair
the editor’s to enter journalism.
in 2006. He is one
He invented the of
QCthe world’s
Suite, usedtop technology
across the audiowriters
industry

Something rotten
If you have music files stored on a home server or external hard drive and haven’t played them in a
while then it might be a good idea to access them from time to time. Barry Fox has the low-down

o you remember ‘laser rot’ remote locations (often close to cheap

D and ‘disc rot’? In the early

days of LaserDisc video and
CD audio some discs failed as
air penetrated the surface sealant and
oxidised the aluminium reflective layer.
hydro-electric power sources) which are
accessible from anywhere in the world via
an Internet connection.
‘This is not something that happens
on a day-to-day basis,’ says Synology
Pin-prick holes spread across the surface spokesman Billy Knowles. ‘It happens
until the disc no longer played. Tighter when files are not accessed for many
quality control at the disc factories and years, for instance when you need to go
better sealants solved the problem. back to a signed file from 1999. Or when
Then there was ‘sticky tape syndrome’. files are copied to and from different
The recording industry found that some storage media and the data is not 100%
master tapes were self-destructing transferred. Bit rot is being talked about
when in storage as moisture from the air more now because of the large masses of
reacted with the binder that holds the data being stored.’
magnetic particles to the plastic base.
The tape went gooey and gummed up DATA SCRUBBING
the drive rollers in a playback machine. Conventional running backups are no
The solution to this was drastic. If the protection against bit rot, because the
tape was baked in an oven, like a cake, backups simply capture and preserve ABOVE: Fear not – periodically refreshing data
it could usually be played once while the the errors. RAID (Redundant Array of stored on hard disks is a way to alleviate bit rot
music was copied off. Independent Disks) storage, where data
is spread across several hard drives to disks. So I asked the IFPI, the music
CHEMICAL CHANGES protect against catastrophic failure of industry’s international trade body,
Now we have a new nasty. It’s called individual disks, may not help either whether it was aware of bit rot, and
‘bit rot’, and it’s the progressive self- because bit rot causes small errors which offering warning advice. I had to ask
corruption of data stored on hard disks. may pass unnoticed. several times before getting a reply that
So far only a few IT specialists have heard ‘We are looking into ways of does little to reassure.
of bit rot because it only affects data files protecting data with “data scrubbing” Says an IFPI spokesperson: ‘We
that have been in store tools. This is a new recognise the significance of preserving
for many years, and only concept,’ says Knowles. the vast creative output of the music
becomes evident when
the file is read.
‘Analogue buffs Data scrubbing,
or data cleansing,
industry, but we also recognise that the
expertise on media preservation is itself
Bit rot is emerging will say bit rot is involves progressively a separate area...
as a real concern, warns working through all the ‘We have not issued specific guidance
Taiwanese network a good reason data on a disk, while on data degradation issues but we do
storage specialist
Synology. Modern hard
to store vinyl’ automatically looking
for mathematical
know that there is wide awareness and
plenty of expert advice available on
drives pack so much discrepancies and data backup and preservation from the
data into so little physical disk space that trying to correct them. But Synology’s consumer level, right through to specialist
the individual magnetic domains are very engineers warn that this process puts a archival needs.’
small and may undergo spontaneous heavy work load on the moving parts of High-end home users are now storing
chemical changes and lose or switch the disk drive, so should only be done terabytes of music on home servers, and
magnetic orientation. This is more with NAS (Network Attached Storage) playing some of it only very occasionally.
likely to happen in warm and humid grade, or Enterprise grade, hard drives, So maybe this is another good reason to
environments – just like laser rot. not lower cost desktop drives. keep any original CDs your server music
The fact that storage is ‘in the Cloud’ It does not take a genius to see has been ripped from. And of course
is not relevant. ‘The Cloud’ is just a that bit rot is likely to affect the music analogue buffs will say this is just another
fancy name for hard disk ‘farms’ in companies who archive audio on hard good reason to store vinyl.

JANUARY 2018 | www.hifinews.co.uk | 105

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 OPINION

Paul Miller
Barry Willis
Editor
Journalist for top American audio-video publications
Technician
While andinterest
his main writer on all things audio,
is high-end audio for some
Barry 30also
Willis years, Paulabout
writes Millerthe
tookculinary
over
the editor’s
industry, chair
visual artinand
2006. He invented
theatre thevariety
for a huge QC Suite,
of USused across the
newspapers andaudio industry
magazines

In defence of country
Are there any genres of music that do not benefit from being heard on a high quality audio system?
Your immediate thought will surely be ‘no’ but, as Barry Willis discovered, not all audiophiles agree

ntering a demo room at a recent RIGHT: American

E audio show, I was brushed aside

by a haughty audiophile on his
way out, loudly disparaging what
he had just heard – ‘Who needs hi-fi for
country music?’ – as if country music and
country music
singer/songwriter
Randy Travis pictured
in 2010 (left) and
Merle Haggard on
good audio were as incompatible as hot stage in 2009. Travis
fudge and sauerkraut. has had six No 1
A fellow visitor to that demo room had albums and earned
exhibited the temerity and bad taste to six Grammy Awards
request some Randy Travis. Grumbling while Haggard had
about ‘white trash theme music’, the 38 No 1 hits on the
haughty gent had no inhibitions about US country charts
expressing his disdain for country or before he passed
offending a fellow music lover. away in 2016
He would not be nearly so vocal
expressing his dislike of jazz, classical,
or opera – even though such dislikes epic in four verses – or a heartbreaking audiophiles are rock fans who refuse to
are widespread among audiophiles – tragedy, like the late Merle Haggard’s acknowledge that country and rock are
because those genres are favoured by the immortal ‘Mama Tried’, possibly the more closely related than first cousins.
erudite classes. A condescending elitist greatest country song ever written. They are more like siblings. Almost
knows better than to say ‘I hate classical’ Other genres have had their share any country song can be given a rock
because it will brand him as a rube. of humorists and comedians – Weird treatment and vice versa. It’s simply a
Al in rock, John Forster in pop, Louis matter of dialling in the degree of twang.
EPIC IN FOUR VERSES Prima in jazz, Victor Borge and PDQ Many of the best recordings have
Country music is an easy target for Bach in classical, and Julia Migenes in been made in Nashville, and this is true
cultural elitists. That’s a shame, because opera, whose one-woman show Diva On to this day. And every once in a while
it’s as valid and sophisticated as any other The Verge is one of the most hilarious one of these recordings breaks through
genre. Other reputedly performances you the audiophile resistance barrier and
far more sophisticated may ever see. becomes a staple of hi-fi shows.
forms can be at their
core just as hokey as
‘A condescending But only the
country genre itself
Just A Little Lovin’, Shelby Lynne’s
tribute album to Dusty Springfield, was
a throwaway country elitist knows nourishes self- among the most played of these, one that
song extolling a drunken deprecation and provoked begrudging acknowledgement
extramarital affair as better than to say self-mockery. Case from even the most anti-country fanatics.
‘the right amount of
wrong’. That gorgeous
“I hate classical”’ in point: David Allan
Coe’s ‘If That Ain’t CYNICAL JOKE
operatic aria may Country’, a song that Nashville is one of the most talent-rich
be, in translation, nothing more than a simultaneously skewers and celebrates cities on earth, as a weeknight visit to any
coloratura riff on the price of peaches. the hardscrabble upbringing common to of its karaoke bars will prove. Yet it does
The European classical canon is really a so many country performers, a song that not reek of desperation the way New
crème de la crème collection of greatest has been called ‘a Faulkner novel in five York and Los Angeles do. It’s an amazingly
hits compiled over centuries. Thousands minutes’. How cold a heart must you have warm and supportive community whose
of obscure mediocrities that lifted them to resist the lure of Tammy Wynette’s citizens are genuinely nice.
into greatness have been forgotten by all ‘Stand By Your Man’, kd lang’s ‘I’m Down A longstanding cynical joke among
but a few musicologists. To My Last Cigarette’, or Iris DeMent’s actors has it that Los Angeles is the
A great country song can be a thing of ‘Sweet Is The Melody’? only city on earth where you can die of
instrumental beauty and lyrical elegance. A really odd aspect to the audiophile encouragement. There’s no such joke
After all, no other genre can express an disdain for country music is that many about Nashville.

JANUARY 2018 | www.hifinews.co.uk | 107

 OPINION

Jim Lesurf
Science Journalist
Jim Lesurf has spent a lifetime in audio, both as an engineer at UK hi-fi company
Armstrong and reader in Physics and Electronics at St Andrew’s University

A fusion of ideas
Protecting audio signals from interference as they travel from source to speaker is one of hi-fi’s
challenges, but it’s not unique to audio and has parallels in other fields, as Jim Lesurf explains

ver the last few months I’ve RIGHT: Examples of

O been occupied with writing

a rambling sort of working
history combined with a
personal biography. It’s the kind of thing
old buffers like myself do when they find
electronics designed
by the author in the
early 1980s for the
Joint European Torus
project. The circuit
history more interesting because they can for the differential
recall being there at the time! receiver (top right)
Most of my working life was spent on used the HA12017 IC,
projects that have no obvious connection which was developed
to hi-fi. Yes, I worked full-time for by Hitachi as an RIAA
Armstrong back in the 1970s. And even (LP preamp) device
after I’d ceased full-time work at the
company I spent many weekends over
the next four to five years developing
electronics for it. But this contrasts with
decades devoted mainly to designing and difference between the applications. mains power or from nearby mobile
building ‘millimetre wave’ systems for all Some of my work for JET was on optical phones or wireless Ethernet, and worry
kinds of applications. Work that relatively systems working at frequencies well that this may degrade the performance
few people beyond some specialists above 100,000MHz. But I was also of their audio system. So they’ll recognise
would know or care about. However, producing amplifier systems to pick up the parallel between something like the
there is a connection. ultra-tiny signals from detectors which moving-coil stage of an audio amplifier
only output a tiny fraction of a microvolt. and the far more daunting situation faced
WATCHING THE DETECTORS These detectors by having to cope
I was reminded of this when I looked had to be cooled to with JET. Smaller
again at work I’d carried out at the start
of the 1980s for the Joint European Torus
almost absolute zero
to work and have
‘The environment signals, radiation,
colossal magnetic
(JET), which was set up to understand a noise level that meant it was vital field pulses, very
nuclear fusion. For a year or two, while was low enough not long runs of cables...
developing amplifiers for Armstrong at to mask the signal. to use balanced and a multi-million
the weekends, during the week I was
also designing and making amplifiers for
However, the real
challenge wasn’t just
interconnections’ pound project that
was required run
use at JET. These had more in common to amplify the tiny on time. But all the
than you might think given the dramatic signals. I also had to ensure the analogue same worries about keeping delicate
electronics could carry the results safely signals safe from interference.
away from the Torus to where the
researchers would be. COMMON DESIGNS
That was seriously complicated by the At the time, no-one reading a hi-fi
truly dangerous levels of radiation, ultra- magazine would have had any idea
high EM fields, etc, which surrounded just how much in common the designs
Torus. This meant that no-one was I produced for audio had with the
allowed anywhere near it when it was those I produced for the extreme JET
running, and the signals had to be environment. Yet even now, when I
cabled away along dozens of meters and compare the circuit diagrams, etc, the
around radiation shielding without the similarities are clear. The main distinction
arrangements picking up any interference was that the JET environment made
that might swamp the tiny signals. differential balanced interconnections
ABOVE: The Joint European Torus project Hi-fi enthusiasts debate issues such vital. Debate over the need for those in
with the vacuum plasma chamber at its heart as the effects of RFI interference from domestic audio still continues.

JANUARY 2018 | www.hifinews.co.uk | 109

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 OPINION
Steve Harris
Contributing Editor
Steve Harris edited Hi-Fi News between 1986 and 2005. He loves jazz, blues music,
vinyl and vintage hi-fi and anything that makes good music come to life

Pick ’n’ mix

Sophisticated digital recording tools and low priced plug-ins mean the hi-fi on which we listen to
music can now cost more than the equipment used to make the recordings, says Steve Harris

here’s always been a huge as plate reverb and automatic double

T gulf between home hi-fi and

professional audio. But one thing
the two worlds have in common,
it seems, is an increasing appreciation
of vintage gear and vintage sound. In
tracking (ADT), as well as emulations of its
old REDD and TG desks and Studer tape
recorders. With such tools, a musician
like saxophonist Gilad Atzmon, already
an experienced producer with his own
March 2017 the EMI-built ex-Abbey Road record label, now finds it possible to
TG12345 Mk IV recording console used complete the creative process.
for Dark Side Of The Moon was sold at ‘I produced Sarah Gillespie, I produced
auction for $1.8 million. the last Robert Wyatt album,’ says
The only other TG12345 Mk IV in Atzmon, ‘But one thing I wasn’t even
existence is currently in use at Prime close to considering, was mixing at home,
Studios in Austria. So this isn’t just the and finishing the product at home.
world’s most expensive piece of rock ‘This has changed in the last seven ABOVE: Gilad Atzmon – jazz musician and
memorabilia. Although EMI discarded it or eight years. There are systems composer – plays saxophone on stage in 2013
more than 30 years ago, its working life is that emulate the sound of the old
probably far from over [see HFN Sep ’17]. compressors and tapes and this allowed You can emulate the sound of, pretty
And the same might be said of a me, for the first time in my life, to sit at much, Abbey Road. And then it’s really
surviving EMI/Abbey Road REDD.37, an home and mix. And to go to listen to it on down to your ears!’
all-tube predecessor of the solid-state TG my hi-fi system, then to give it one day, to
series. One of three built around 1958, think about it more, to go back to fix it. SKY’S THE LIMIT
this eight-in, four-out all-tube console was ‘If you’re in a studio, it costs 500 quid There’s a reversal of the old economic
used for many Beatles recordings before a day, you go to Abbey Road it costs 4500 order here. Most of us listen, on a system
finally being sold off. quid a day, so you costing a few
don’t want to take thousand pounds,
SOFTWARE EMULATION
But in recent years, thanks to digital
the time to learn how
to use compressors,
‘“Abbey Road costs to recordings that
were made on
technology, recording engineers have to experiment with £4500 a day, so you probably a million
been able to achieve almost any kind of it. So I never really pounds’ worth of
studio sound without having to spend a played with great don’t want to take studio equipment.
million dollars. Abbey Road’s own range outboards. Which But today, when
of software plug-ins offers effects such is something I do
time to experiment”’ the sky’s the limit
now, at home. It’s for high-end hi-fi, a
an incredible experience!’ After mixing very well-heeled enthusiast might just be
Talinka [Fanfare FJ1701], Atzmon went doing just the opposite.
on to do the same with his current Orient And then, if you have that kind of
House Ensemble album The Spirit Of money, you could buy some amazing
Trane [Fanfare FJ1702]. studio gear yourself. That REDD.37
‘When I went to the digital mastering, console was acquired by Californian
the guy said “This is the best sounding- singer-songwriter Chris Solberg, who
album!”. And I said “Really? I did it in lovingly maintained it (with its 52 tubes)
my kitchen!”. The system that I’m using until 1992, when he sold it to American
is called Universal Audio – one 1U unit, singer, songwriter Lenny Kravitz.
which is just 1in high, and costs £2000 to Most recently, the REDD.37 was put up
£3000. And then you buy all the plug-ins for sale in America by Vintage King, the
that work from your laptop. ‘Pro Audio Outfitters’. They offered it as a
‘And basically, for about £5000 or package with two Studer tape recorders,
ABOVE: Find Gilad Atzmon’s self-produced something, you have a studio that 15 an ex-Abbey Road J37 1in 4-track and a
album The Spirit Of Trane on Amazon.co.uk years ago would have cost £1.5 million. C37 two-track. Now that’s a system.

JANUARY 2018 | www.hifinews.co.uk | 111

 Send in your views to:
Sound Off, Hi-Fi News, AVTech Media Ltd,
Suite 25, Eden House, Enterprise Way, Edenbridge, Kent TN8 6HF
or email your views to: letters@hifinews.com –
YOUR VIEWS please use ‘Sound Off’ in your subject field

La’s tangle
WRONG REISSUE LEAVES READER DISGRUNTLED
Correspondents express their own opinions, not those of Hi-Fi News. We reserve the right to edit letters for publication.
Correspondents using e-mail are asked to give their full postal address (which won’t be published). Letters seeking advice I read with interest the review of the new La’s
will be answered in print on our Sound Off pages, but due to time constraints we regret we’re unable to answer questions on
buying items of hi-fi or any other hi-fi queries by telephone, post or via e-mail.
vinyl reissue in the November issue and decided
to buy it from Amazon. The LP arrived safely and,
as per the review, it was in a heavy cardboard

TO USB OR NOT TO USB? sleeve and pressed onto 180g vinyl. However,
on playing the album I heard nothing like the
READER SAYS FLASH DRIVES GIVE BEST SOUND sparkling, dynamic and punchy sound described.
On closer inspection I noticed that it had the
I listen to classical music, much catalogue number UMC 4789714 on the outer
of it high resolution. This is one of sleeve (also it was made in 2016 and not July 2017
the reasons I now use headphones as stated by Amazon, grrr), so I’m wondering if I
almost exclusively. To my ears have bought an inferior pressing and that I should
they convey the magic of modern have purchased the UMC 4789746 from Banquet
recordings with a finesse, subtlety Records as per Mr Sutherland’s review.
and range that few loudspeakers Stephen Dodson, via email
that I have heard can match.
But why does playback of files Patrick Fraser replies: We’re sorry to hear of your
ripped to USB drives receive so disappointment with the copy of the LA’s album you
little attention in the pages of HFN? ABOVE: AKG’s K812 headphones – for bought from Amazon. Sometimes there are different
My experience suggests direct more details see www.akg.com reissues of an LP on 180g vinyl available at the time
playback from USB drives where we go to press, and to avoid confusion we will state
possible generally gives a better fail, it’s easy enough to download the catalogue number of the particular release that
result than feeding the signal to the the material again. is being reviewed. The LA’s reissue was indeed, as
same component from a laptop. James Faulkner, Australia stated in the review, the UMC 4789746 from Banquet
When it comes to my current Records (https://www.banquetrecords.com/the-
equipment – a Marantz SA-11S1 Keith Howard replies: The simple la%27s/the-la%27s/4789746). We cannot comment on
SACD player and NA-11S1 network answer, I think, is inconvenience. It is the UMC 4789714 release as we have not heard it.
player [HFN Jul ’13] with AKG much easier to play an optical disc or
K812 headphones [HFN Dec a file from your hard drive or NAS than
’14] – a CD or file sounds better
directly from the disc player or the
network player than it does fed
it is to copy a relatively small number
of files (especially hi-res files) to a USB
flash drive for replay that way. There is
WhitWorld
OUR HI-FI WORLD THROUGH THE EYES OF WHITWORTH
to the network player via cable. no question, though, that replay from a
(Excellent results can be achieved flash drive can sound better.
from the network player via cable.) I’ve ceased mentioning it in reviews
A final observation is that USB but for many years I’ve played files
drives – while perhaps a little this way rather than from a hard drive
‘old school’ given that one has to because it sounds better. If you have
insert them in players much as one losslessly compressed FLAC or ALAC
would place vinyl on a turntable (Apple Lossless, .m4a) files, it’s also
or a disc in a drawer – make the worth unpacking them to WAV format
need for backing-up redundant. before replay to obviate this being
The drives are small, cheap and performed on the fly. This can improve
reliable. In the event that one does sound quality still further.

ABOVE: The Marantz NA-11S1 network player is built around a DSD1792 DAC

112 | www.hifinews.co.uk | JANUARY 2018

 JITTE RBUG USB Filter

YOUR VIEWS

Surprise in store
RESURRECTED ’80S CARTRIDGE REWARDS IN SPADES
ADES
DES

Mr Harfleet’s contribution to the

Sound Off pages in the October issue
concerning the storing of cartridges
has turned out to be rather prescient
of my own recent experience. Can a £39 insect make all
A year ago I upgraded my your CD files sound better than
cartridge from an elderly Linn K9 Hi-Res?
to a Benz Micro ACE SL [HFN Jul Yes and no: Using the same
’12] and the improvement in overall equipment and a quality DAC, a 24/96
sound quality has been a revelation. file (for example) will always sound
better than a CD 16/44.1 file … but,
Recently, however, I needed to even a single JitterBug will often
remove the Benz from the deck for allow a CD file to be more musical and
a short while, causing me to either more emotionally stimulating than
return the K9 into the headshell or ABOVE B
ABOVE: Benz Mi
Micro ACE SL – a winner
i iin a Hi-Res file without the benefit of a
JitterBug.
resurrect a Technics EPC205C Mk3, HFN’s Jul ’12 group test of MC cartridges
which has been stored in a shoe box Noise is the problem. Real noise—
the kind you can’t hear directly. Most
in our garden shed. so many? Surely the idea of hi-fi is often, the word “noise” is used to
The Technics dates from the early musical enjoyment and not messing describe tape hiss or a scratch on a
1980s and has been idle for almost 35 about constantly fiddling? record, but these sounds aren’t noise;
years. As such, I had an open mind If I was a newcomer to hi-fi, whose they are properly reproduced sounds
that we wish weren’t there.
as to how well or poorly it might income was low compared to that of
Problem noise is essentially random,
perform when pressed into service some of your readers, it would turn resonant or parasitic energy, which
– or even if it would perform at all. me off. Perhaps the world of hi-fi has has no meaning. It can’t be turned
Once installed and lowered onto the lost its way in the pursuit of esoterica? into discrete sounds, but it does
record surface, the sound from the Cliff Millward, via email compromise signal integrity and the
performance of everything it touches.
Technics surpassed all expectations
and sounded remarkable neutral. Ken Kessler replies: As Mr Perks found, JitterBug’s dual-function line-
conditioning circuitry greatly reduces
So, to answer Mr Harfleet’s one might be pleasantly surprised by the noise and ringing that plague both
question, not all cartridges appear to a cartridge that hasn’t been used in – the data and power lines of USB ports,
suffer from deterioration when stored literally – decades. However, for robust whether on a computer, streamer,
over long periods, according to my storage tips you may want to refer to home stereo or car audio front-panel
USB input.
experience. They may even improve Paul Miller’s reply to a letter from a Mr
A single JitterBug is used in between
with age when stored in a dark place! Edwards in the Nov ’17 Sound Off pages. devices (i.e., in series) as shown
Edward Perks, via email Regarding Mr Millward’s comments, I below. For an additional “wow”
own numerous cartridges because I am a experience, try a second JitterBug
I read the letter about temperature professional hi-fi reviewer who, whenever into another USB port on the same
device (such as a computer). Whether
and cartridge performance in the I assess an arm or turntable, has to try at the second port is vacant, or is
October issue and noted that Ken least two (MM and MC) and ideally more feeding a printer or charging a phone,
Kessler keeps his cartridges on a tray. to assess the product. And I choose to JitterBug’s noise-reduction ability is
Could I ask why he sees fit to have spend my income as I see fit. likely to surprise you. No, the printer
won’t be affected—only the audio!
While a JitterBug helps MP3s sound a
lot more like music, high-sample-rate
files have the most noise vulnerability.
Try a JitterBug or two on all your
equipment, but never more than two
per USB bus. There is such a thing as
too much of a good thing.

ABOVE: Reader Edward’s Technics EPC205 Mk3 MM cartridge – a favourite from the ’80s

JANUARY 2018 | www.hifinews.co.uk | 113

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 New DragonFlys!
YOUR VIEWS £89 Black & £169 Red
Powerful, Immersive
Sound fromComputers
Quality of recorded sound
ARE WE TRYING TO EXTRACT A REALITY FROM OUR RECORDINGS THAT SIMPLY ISN’T THERE?
and Mobile Devices!

I spent a very enjoyable day at the not actually enhanced with a higher
2017 Hi-Fi Show Live in Windsor sampling rate and bit depth?
listening to some amazing sounds on Martin Phillips, via email
some fabulous equipment. Yet can
anything match the experience of Keith Howard replies: Numerous reasons
hearing actual live music? have been suggested down the years for
Over the years in the pages of the best hi-fi still falling short of the live
Hi-Fi News there have been many music experience. Equipment limitations
discussions on the limitations of are certainly an issue, otherwise why
equipment – and loudspeakers would some hardware combinations
in particular – when it comes to perform better than others? But there
delivering the sound of a live are other factors. Room acoustics is one;
event. But have we examined if the the fact that stereo doesn’t accurately
recording chain can record music recreate the original soundfield is another.
exactly as live music is perceived? Microphones per se are probably
For example, can microphones not a major cause of the shortfall,
react instantly and follow the complex although that’s not to say they are entirely
music waveforms? Presumably they blameless. Some do indeed have
have a diaphragm which has some notable bandwidth limitations, and many
mass and therefore cannot start and have readily discernible colorations.
stop instantly and will have some If you ever have the opportunity, listen
maximum excursion level. This same to the microphone comparison track
diaphragm may also have resonances on the original Stereophile Test CD
and difficulty reacting to the highest [STPH 002-2] – it’s a real ear-opener Four years ago, AudioQuest shook the
and lowest frequencies evenly. about microphone sound. Capacitor hi-fi world with our first DragonFly
Perhaps we could have an article microphones also have sufficiently DAC–Preamp–Headphone Amp—the
looking at these aspects and if we are high noise levels that better than 16-bit rare audio product that brought more
now trying to extract levels of reality dynamic range is difficult to achieve. compelling sound to all music lovers,
from our cherished recordings that But compared to loudspeakers, playing high-res files to MP3s on per-
were not there in the first place. microphones have it easy and – unless fectionist systems and modest laptops.
It was also interesting to see they are placed very close to loud
several high-end manufacturers at the instruments – certainly don’t have Now, the new DragonFly Black and
Windsor show using standard CDs excursion limitations. Take a look at the DragonFly Red exceed their prede-
for demonstration where they felt spec sheets of professional microphones cessor in every way, delivering more
they were as good as high definition and you’ll find that they typically quote beautiful music, boasting software
music. Perhaps this was because they 1% distortion at around 140dB SPL, which upgradability, and providing compat-
felt that the original recording was requires special techniques to measure. ibility with Android and Apple iOS
mobile devices.
While Black offers more clarity, depth
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ABOVE: Live and recorded sound at the Hi-Fi Show Live as guitarist Joncan Kavlakoglu
performs a duet with his own recordings played via YG Acoustics’ Sonja XV Junior speakers

JANUARY 2018 | www.hifinews.co.uk | 115

 YOUR VIEWS

A question of balance
EXPLORING THE ADVANTAGES OF BALANCED CONNECTIONS WITH RESPECT TO PICK-UPS

I’m certain I’m not the first to observe Devices SSM2019 which is a form
this, but many cartridges provide a of instrumentation amp, but is
four-wire output with the left and right dedicated for audio use.
channels entirely separate and with I mounted the circuitry into a tin box
neither grounded. They are thus similar which was fixed to the rear of the deck.
to low-level microphone outputs. The power supplies were external
Microphone feeds are usually taken and coupled via a single bundle
to balanced amplifier inputs whereas which also provided the 12V
cartridge outputs seem to be routinely DC for the deck. One problem
grounded requiring single-ended inputs. was that my signal generator
Some of the best low-level circuit has a BNC output and is thus single
configurations are essentially balanced ended with the screened side grounded.
and it raises the question ‘why not I had to feed the output via an audio ABOVE: The fully automatic Thorens TD190-2
feed the cartridge outputs straight into transformer to obtain a balanced feed. turntable comes with Ortofon’s OM10 pick-up
balanced circuitry and thereby avail From experience, I knew that you have
yourself of the advantages’? These are to fit resistive attenuation to bring the and started listening to the music. There
enhanced amplification and potential signal level down to that required. was no hum. I now have a transportable
reduction of hum and noise. My first power supply used a small record player that can be plugged
Ironically, quite a few top class toroidal transformer with the output into any CD or Aux input and acquit
phono amplifiers start with low-level rectified and smoothed to produce 12V itself well. The deck cost £350, which
transformers in order to convert the DC. This was fed directly to the deck’s is a bit of an indulgence for what was
signal back to balanced form in order motor and to DC-to-DC converter essentially an experiment. However, the
to feed balanced circuits. These chips to produce separate + and –15V cost of the parts for the amp and power
transformers are expensive and typically DC supplies for each phono channel. supply, although of the best quality, were
cost around £500 the pair. The transformer hummed. The supply substantially less than £100.
In order to put my ideas to the test, provided by Thorens, while rated at The results are such that I will now
I purchased a Thorens TD190-2 deck 12V actually produced 15V, even when consider upgrading the OM10 cartridge,
which comes fitted with an Ortofon driving the deck. So I started again, this perhaps to an Ortofon 2M Blue. I’m also
OM10 cartridge. The individual time fitting a switch-mode unit to deliver thinking of fitting a second arm and
cartridge wires on the OM10 are readily the 15V DC. This connected directly cartridge for dedicated 78rpm use.
accessible. There are innumerable to the deck’s motor (which was much Nick Willans, via email
phono circuits published but the happier with the higher voltage) and to
one I selected was from an Analog the same DC-to-DC converters. Much, Jim Lesurf replies: As a rule, I’m doubtful that
Devices Application Note AN245 much better and completely silent. balanced connections are needed for the
(available online) which details various To give myself a little more to work majority of home hi-fi systems. But I agree
applications for instrumentation amps with, I purchased the Hi-Fi News test with David that cartridges for LP replay
including an RIAA equalisation circuit, disc The Producer’s Cut. This revealed are a special case since they tend to output
part passive and part active. The front- that I had inadvertently introduced a quite low signal voltages/powers.
end chip I selected was an Analog phase reversal on one channel. I found In particular, moving-coil designs output
the error and corrected it. tiny voltages. Moving-magnetic designs
I was gratified to find that the amps give more, but have a relatively high
seemed quite well behaved. I have a output impedance (as do MC-fed step-up
nice modern Tektronix oscilloscope transformers). So the signals are weak, and
which, being digital, is only a few inches easily contaminated to an audible extent by
deep. If you set the time-base to be hum, etc. In some cases, hum/interference
very slow, you can observe the amp may be picked up by the coils inside the
output for a whole LP side in one trace. cartridge itself. When this happens, using a
You need to select what you consider balanced connection may not help.
to be your most heavily modulated However, I feel it is a shame that
disc. This is very useful when it comes domestic audio long ago standardised on
to optimising the gain such that it an unbalanced connection via the likes
is maximised but kept well clear of of the RCA/phono plug and socket. As a
overload. Just to check, I played a 12in result, I fear ‘inertia’ has since prevented the
45rpm reggae single and found that widespread adoption of balanced connection
the output was nearly double that of a for cartridge output. Fortunately, we can
comparable 33rpm LP. generally achieve decent results in any
ABOVE: Available from Amazon.co.uk at £30, Final listening tests were gratifying. case, but life might have been easier using a
the Hi-Fi News test LP The Producer’s Cut I stopped listening to the sound quality balanced approach from the get-go.

116 | www.hifinews.co.uk | JANUARY 2018

Best MC for modern jazz
BUDGET OF £2K, BUT WHICH CARTRIDGE WILL SWING IT GIVEN THIS READER’S TASTES?

My beloved ZYX R-100 cartridge

will soon bite the dust and I am now
seeking an alternative. My budget
is around £2000 and my turntable is
an Avid Sequel SP equipped with
an SME 309 tonearm. The rest of my
system comprises a Plinius Tautoro
preamp, SA-103 power amp and
Koru phono stage. I mostly listen to
modern jazz and female voices, such
as Melody Gardot and Anne Bisson.
One friend is recommending
a Lyra Delos, others an Ortofon
Cadenza Bronze, Shelter 501, Koetsu ABOVE: The Koetsu Black K MC cartridge
Black K, or a Dynavector XX-2 MkII, has a rosewood body and outputs 0.4 mV
but I would like your opinion so that
I can choose the model that will best wise friends as they have given you an
suit my system and my music. The excellent shortlist to work from!
issue with cartridges, of course, is Taking this list as a starting point, you
that you can rarely try them at home, might find the Lyra a little too forthright
which makes buying the right one and, while the Shelter and Dynavector are
something of a lottery. both fine designs, the Ortofon or Koetsu
Themis, Greece would get my vote. I’ve used both in my
own SME 309 tonearm and they work a
Adam Smith replies: Your fondness treat. The Koetsu Black K is rather softer
for modern jazz and female vocals and more mellifluous in its presentation
suggests you would be best served by while the Ortofon is a little more dynamic-
a well-balanced cartridge having a fluid sounding. Given your amplification, I
midrange and able to deliver a good would lean more towards the Koetsu, but
sense of atmosphere. You have some you really won’t go wrong with either.

The cost of new vinyl

BUYING LPS CAN BE AN EXPENSIVE HABIT BUT WILL PRICES SOON PEAK STATESIDE?

I read the Opinion column by Barry mostly out of principle, cannot bring
Willis in the November 2017 issue themselves to spend what they deem
concerning a plateau in the sales of
vinyl in the US. The downturn comes
down to three things: price, price
to be the often ridiculous prices
demanded for new vinyl.
David Blumenstein, via email
EXTREME?
and price! Just yesterday I spoke to
some 20-somethings with turntables
and asked them about their listening
Barry Willis replies: David, you are
absolutely right – prices for new vinyl in
IT IS NOW!
habits and recent purchases. Their the US are ridiculous and getting more
response was that new vinyl is far too so. The format may be ‘trendy’ but how
expensive to be purchased regularly. can anyone justify $35 to $60 a pop for
Even when it is a must-have, it will reissues? Or even new releases? Or, as
complement the increasing number Ken Kessler has mentioned [HFN Aug
of used LPs they’ve bought. ’17], paying multiples of list price to
Here in middle America, Ohio, the speculators for limited-edition titles?
shops – and there are at least six with On the other hand, worn-out records
healthy turnovers – keep themselves at a dollar or two each from charity shops
afloat via sales of secondhand may not be such a bargain if they are
albums. Sadly, more and more of unplayable. As you point out, the middle
those old enough to have lived at a ground – good quality used vinyl at
time when the CD had yet to exist reasonable prices – is where astute music
are dropping like flies. And they too, lovers are spending their money.

JANUARY 2018 | www.hifinews.co.uk | 117

 VINTAGE HI-FI

Technics SL-Q303 turntable

When launched, this turntable was just one of over a dozen Technics decks offered.
Is it now the pick of the radial-tracking pack? Time to take it to the test bench...
Review: Tim Jarman Lab: Paul Miller
hink of direct-drive turntables and

T the chances are that one brand

will spring to mind: Technics.
What’s more, its SL-1200 turntable
will be the model most people think of
first. This famous deck casts a long shadow
over the others in the company’s range
and yet there were many to choose from.
In fact, when the SL-Q303 seen here was
launched in the UK in 1982 it was part
of a 13-model lineup – a series that went
from the professional-spec SP-10 MkII right
down to moulded plastic belt-drive budget
models such as the SL-B202.
Ignoring the SP-10 and SL-1200, the
SL-Q303 was the top radial-tracking deck
on offer that year. In addition, the company
was enlarging its commitment to linear
tracking with a choice of five such models.
These ran from the premium SL-15 and
SL-10 decks down to the basic SL-DL1. The
SL-Q303 can thus be considered to be
Technics’ take on what a state-of-the-art
‘consumer’ radial turntable should be. ABOVE: The large component shown in this exploded view is the aluminium diecast upper section
of the turntable’s plinth. Expensive to produce, parts like this elevate the deck into the luxury class
PREMIUM PLINTH
Although easily mistaken for cheap plastic deck without the need for specialist part was flattened out to fit within the
from a distance, the SL-Q303’s plinth was audio furniture. Fully automatic operation confines of the very slim plinth. What this
actually made from diecast aluminium. was also part of the package, with little layout gave away in torque, it more than
Beneath this, the working parts of the sensing fingers built into the platter to regained when it came to rumble. The
turntable were mounted on a rigid TNRC detect the presence and size of the record. lower forces involved allowed decks in this
(Technics Non-Resonant Compound) sub- The gimbal-mounted arm came with an series to return figures of –80dB (DIN-B
chassis hung from the plinth on steel coil S-shaped alloy tube and a removable wtd) when assessed by Hi-Fi Choice at the
springs. With the plinth itself mounted magnesium headshell, the supplied time [though see PM’s Lab Report, p123], a
on absorbent rubber feet, this ‘Double cartridge being a simple EPC-U25. ‘best in test’ figure which eclipsed both the
Isolated Suspension’ set-up aimed to As a Technics deck, the real interest, bigger Technics models (typically –78dB)
deliver freedom of positioning for the of course, was in the motor. The unit was and the Linn LP12 (–79dB).
direct drive and quartz-locked with phase Meanwhile, near perfect speed stability
control. A small LED stroboscope was and accuracy completed a fine set of
fitted to demonstrate the motor’s unerring characteristics. Indeed, these outshone
stability but the two speeds were fixed and those of many more expensive and more
could not be adjusted by the user. audiophile-focused competitors.
Although described as a high-torque
design, the SL-Q303’s motor could not CAUSE OF CONFUSION
match the might of the one fitted to the The family of similar models of which
SL-1200, let alone the SP-10. While it the SL-Q303 was part was bewildering
retained Technics’ signature integral in its complexity. If you could do without
rotor and platter arrangement, the stator fully automatic operation then you could
choose the otherwise identical SL-Q202.
LEFT: Close-up of the LED strobe prism and Simplified versions of both variants, lacking
record sensing fingers built into the platter both quartz lock and the aluminium plinth,
mat. Large key sets the automatics in motion were also available as the SL-D303 and the

118 | www.hifinews.co.uk | JANUARY 2018

SL-D202. In the following year, straight-arm The turntable’s feeling of solidity along ABOVE: Sleek and beautifully finished, the
versions of all types were offered, complete with its exemplary finish mean it’s an SL-Q303 is an attractive addition to the home.
with T4P cartridge mounts. These were instantly attractive deck to handle and use The controls at the front project beyond the lid,
the SL-Q30, SL-Q20, SL-D30 and SL-D20. – even if some may associate automatic enabling operation with the record protected
All were fitted with EPC-P24 cartridges but operation with a ‘non-serious’ product.
were otherwise identical to the previously Rest assured, it is not. but here it triggers the automatic cueing
mentioned turntables. From a few paces routine as well as starting the motor.
away all of these turntables looked the TICKS ’N’ TOCKS What then follows is a protracted series
same, which must have been the cause of Our sample of the SL-Q303 was beautifully of gentle ticks and tocks from under the
much confusion when touring the dealers original right down to its factory-fitted platter as the mechanism does its thing.
and comparing prices. cartridge, meaning there was very little The mechanical layout is surprisingly
Even today they all tend to get lumped to do in order to have the deck up and complex and involves multiple small mode
together, despite the considerable running. The arm balances in the usual way, cams instead of the usual single large one.
differences in facilities although in standard Although slow, it all works with a deliberate
and quality which exist form the design favours and silky-smooth sense of precision.
within the range. This ‘The turntable’s lightweight pick-ups Less convincing is the sliding action of
was a typical situation such as the EPC-U25. the cueing control, which I considered
at the time. In the UK in
stability and Provision was made for awkward to use. A traditional lever located
1983 Technics offered
18 turntables, ten
fine focus never an additional weight at
the end of the arm tube
around the arm base would have been
better in my view. Manual operation is
cassette decks, seven failed to impress’ but if this is missing, possible, with the motor starting as soon
amps, five tuners and a fitting a heavy cartridge as the arm is moved away from the rest.
dozen speakers – not to mention a host of will result in the main counterweight being This is the way I chose to operate the deck,
other supplementary equipment. In other set so far back that the lid won’t close. with hand-cueing a result of the tedious
markets, such as Germany and Japan, the The start/stop key will be familiar to nature of the control.
choice offered was wider still. users of the larger Technics turntables,
VIBRATION FREE
Once started, the strobe locks within
a second or so and remains solid, the
motor being silent and vibration free. The
turntable comes fitted with a tethered
cable terminated with two RCA connectors
and a ground wire. These fitted straight
into my Cambridge Audio 651P phono
stage, which in turn was routed through
the usual Cyrus 6A amplifier and Monitor
Audio PL100 loudspeakers via Chord
interconnects and cables.
Despite the obvious effort expended in
the design of its suspension, the isolation
offered by the SL-Q303’s plinth is not

LEFT: The SL-Q303 was positioned near the

top of an extensive range of turntables offered
by the company though the catalogue cover
majors on the linear tracking part of the series

JANUARY 2018 | www.hifinews.co.uk | 119



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 VINTAGE HI-FI
RIGHT: Seen from above the ‘S’ shape of
the tonearm is obvious. Also note the drilled
magnesium headshell. The complete arm
assembly is easily removable for service work

subjectively that much better than that

offered by comparable rigid designs, for
example the Sony PS-X4 [HFN Sep ’17]. It is
certainly not in the league of the compliant
B&O Beogram 4000 [HFN Jun ’14]. At 6.5kg
the plinth lacks the simple mass-damping
abilities of the Sony PS-X4’s 11kg bulk, so
careful positioning could be beneficial.
Another oversight appears to be the
tendency of the record to develop and
retain an electrostatic charge, possibly
as the result of the materials used in the
synthetic rubber mat. This causes the
playing surface to attract dust, meaning
that keeping the deck’s lid shut is a
must for an uninterrupted play-through
of a complete LP side if excessive stylus
contamination is to be avoided.
Against these observations I found
the performance of the motor to be even at comparatively low downforce In this form, the SL-Q303 delivered
quite superb. Pitch and tempo stability settings. It also provided a continuous and a beautiful performance of Kate Bush’s
were beyond reproach, both exhibiting a surprisingly wide stereo image. 1980 album Never For Ever [EMI EMA 794].
solidity one normally associates with CD. When the deck was originally launched, Whether is was the tubby bass sound of
Additionally, not a trace of rumble could be Technics offered the option of the EPS- the acoustic guitar underpinning ‘Army
heard through the speakers – a remarkable 25ES – a replacement stylus Dreamers’ or the ever-
result for a turntable that was aimed with an elliptical tip. While so-delicate percussion
primarily at the non-specialist market. I have no doubt that this ‘It served up the lines in ‘Breathing’, the
would have resulted in a fine focus and admirable
TIM LISTENS significant improvement in
abrupt bursts stability of the Technics
From a musical point of view, the main
factor that limits the Technics SL-Q303’s
performance, the use of a
standard mounting means
of slap bass deck never failed to
delight and impress. The
performance is the supplied cartridge. all manner of alternatives right on cue’ sustained piano chords
Although reasonable, the rest of the can be tried (so long as that open the latter of
deck clearly deserves better. Fitted with they aren’t too heavy). I opted for the most these two selections – a demanding test
the standard spherical-tipped EPS-25CS obvious option: an Ortofon 2M Red [HFN for any turntable – stood out in particular
stylus, the EPC-U25 gave a hard and brittle Oct ’08] fitted to a lightweight headshell. for their solid and consistent pitch. Looking
sound that lacked any real bass extension. This resulted in a richer and more balanced for faults, in some instances an especially
This is a shame since the basic tracking sound – a worthwhile improvement in deep and heavy bass note could have a
performance of the cartridge was good, return for a reasonably modest outlay. tendency to become extended and diffuse,
possibly as the result of a resonance in the
system somewhere.

PACKING A PUNCH
Curious as it may seem, the Technics
quartz-locked direct-drive motor appears
to have a ‘signature’ all of its own, which
can easily be heard. It centres around the
motor’s ability to really drive the rhythms
of a piece of music along, placing each
beat precisely in time so that the full range
of detail in a recording is revealed.
The SL-Q303 retains this character,
which was clearly demonstrated when
playing Level 42’s self-titled first album

LEFT: Details of the arm base, showing the

gimbal pivot and the anti-skating control. The
label at the rear shows the part numbers for
conical and elliptical replacement styli

JANUARY 2018 | www.hifinews.co.uk | 121

 LAB
REPORT
TECHNICS SL-Q303 (Vintage)
This fully-integrated turntable may have been launched after
the SL-150 motor unit [HFN Oct ’15] but our figures suggest it
was perhaps not quite as robust. Nevertheless, as top dog in
Technics’ ‘Front Control’ series the SL-Q303 is still extremely
capable. The diecast platter is brought up to speed within two
seconds by a (‘ultra low speed’) DC motor while an internal
4.19MHz crystal is the source for the oscillator/clock that
maintains its fine ±0.07% absolute speed accuracy. Wow and
flutter is also usefully low at 0.02% and 0.04%, respectively, while
the ±15Hz sidebands [see Graph 1] appear as a cluster of peaks
ABOVE: The slender lines of the plinth are immediately apparent in this view while on the rumble spectrum. So the SL-Q303 is not quite as silent
the hole in the end of the arm tube is for the fitting of an extra counterweight as the SL-150 – its through-bearing (through-spindle) rumble
is about 5dB poorer at –67.1dB (DIN-B wtd, re. 1kHz/5cm/sec)
although the through-groove figure is only 3dB off at –66.1dB.
from 1981 [Polydor POLS 1036]. value for money in that they can The partnering S-shaped 9in thin-walled alloy tonearm
More acoustic in its nature than the lay claim to the top materials and features a lightweight detachable headshell and its overall
band’s later material, the tracks on technology without the restriction effective mass of 8g makes it an ideal match for the high-ish
compliance EPC-U25 MM cartridge that was originally supplied
this early work all seemed to benefit of T4P cartridges. Nonetheless,
(and photographed here). S-shaped arm tubes do not bend or
from the no-nonsense, straight-to- many have led a hard life as part of twist in quite the predictable fashion of ‘straight’ tubes and
the-point delivery of the SL-Q303. packaged stack systems, so be on this is reflected in the modestly complex cumulative resonance
‘Love Games’, so familiar still after the lookout for scratched or broken waterfall [Graph 2]. This indicates main modes at a low 50Hz
and 100Hz with harmonics and/or torsional modes at 270Hz
years of radio play, was brought lids and missing minor parts, as well
and 540Hz, the latter decaying quite quickly. Our sample was in
back to life by the turntable’s as damaged arms and bearings. excellent condition with the gimbal bearing exhibiting no free
punchy sound. The character of the The aluminium plinth is certainly play while offering a mere ~10mg of friction/stiction in both
deck seemed to complement Mark robust but it is easily marked and planes. The static downforce calibration was good to +5%, which
King’s unusual bass guitar technique can be difficult to get properly clean is better than the arms fitted to many decks today. PM
perfectly, serving up the abrupt if really grubby. By now the springs
bursts of slap bass right on cue. supporting the TNRC sub-chassis
When you bear in mind the may have sagged, so a small amount
unpretentious nature of this deck, of adjustment may be necessary to
its wide availability and the ease make the suspension effective again.
with which it fits into domestic When it comes to the electronics,
surroundings, it is difficult not the reliability of this design has
to recommend the SL-Q303 proved to be excellent over the
wholeheartedly. Not just as a years. On the very rare occasion
vintage collectable either, but that the motor gives trouble (such
as a serious contender for main as being difficult to start or refusing
system use for those looking for an to turn at all) a defective Hall sensor
economical way to experience the is usually the cause. Unlike Sony ABOVE: Wow and flutter re. 3150Hz tone at 5cm/sec
virtues of the quartz-locked direct- decks of this era, there is no stripe of (plotted ±150Hz, 5Hz per minor division)
drive technique. magnetic paint to worry about in a
Technics motor.
BUYING SECONDHAND Mechanically the news is
The most difficult part of buying also good with no major pitfalls.
one of these turntables is getting to Servicing and lubrication is made
grips with all the different versions easier by taking off the arm, which
out there so you know what it is lifts away complete with its base
that you are looking at. The SL-Q303 and wiring once the plinth and a few
and SL-Q202 represent the best screws have been removed.

HI-FI NEWS VERDICT

The SL-Q303 demonstrates very
well what a carefully designed ABOVE: Cumulative tonearm resonant decay
quartz-locked direct-drive spectrum, illustrating various bearing, pillar and ‘tube’
turntable can be capable of. Even vibration modes spanning 100Hz-10kHz over 40msec
though it has been packaged for HI-FI NEWS SPECIFICATIONS
high-quality domestic use rather HI-FI NEWS SPECIFICATIONS
than for audiophile applications Turntable speed error at 33.33rpm 33.31rpm (–0.07%)
this should not exclude it from
Time to audible stabilisation 1-2sec
consideration for an enthusiast’s
Peak Wow/Flutter 0.02% / 0.04%
system, especially if the budget
allows for a better cartridge. Rumble (silent groove, DIN B wtd) –66.1dB
Experience has shown that these Rumble (through bearing, DIN B wtd) –67.1dB
turntables are reliable too.
Hum & Noise (unwtd, rel. to 5cm/sec) –51.3dB

Sound Quality: 75% Power Consumption 4W

ABOVE: The EPC-U25 cartridge came as 0 - - - - - - - - 100 Dimensions (WHD) / Weight 430x106x375mm / 6.5kg
standard but an upgrade is worthwhile

JANUARY 2018 | www.hifinews.co.uk | 123

 FROM
FR
ROM
MTTHE
HE V
VAULT
AULT

Lux SQ1220 amplifier

Gordon J King admires a Japanese solid-state integrated with ‘3-D’ sound

solid chunk of Japanese

A electronics, the SQ1220

amp is built by the Lux
Corporation of Osaka and
Tokyo, a firm involved in designing
and manufacturing equipment
for the Japanese broadcasting
authorities. It is not cheap, and the
£115 14s 6d recommended selling
price places it well within the group
occupied by two or three solid-state
British amplifiers of high renown.
It is powerful, claimed to push a
maximum of 50W into 8ohm loads
at low distortion (closely matched by ABOVE: The Lux SQ1220 integrated amplifier. BELOW: Fig 1 – plot showing tone
my tests, incidentally), but in spite control curves with switchable bass/treble turnovers at 200Hz/400Hz and 2kHz/4kHz
Hi-Fi of this high power it is an integrated
design weighing 30lb with overall in a square of four at the left of the Next to the two-tone control
News dimensions of 16¼x18x11in. panel – and they are isolated from switches are two similar switches,
the circuit when the associated bass the first one giving bass boost (up)
Jan 1969 RARE FEATURES and treble switches to the right of and bass cut (down), and the second
Each month The front panel comprises a them are in a neutral position. Each working the treble-cut filter and
HFN will bring lustreless, machine-finished tone switch is worked by a three- giving a turnover of 5kHz (up) and
you an article aluminium-alloy, the same as the position lever (coupled to a three- 9kHz (down), with the mid-positions
from our vast control knobs. There are several rare position switch), mid-position being in both cases switching the filters
archive of features of design, and one concerns neutral (for flat response), with the out of circuit.
features and the tone controls. Each channel has upper and lower positions giving a
reviews from separately-operating bass and treble choice of turnover frequency. IMPEDANCE MATCHING
yesteryear controls – with the knobs grouped The bass switch puts the turnover The remaining control knobs are for
at 400Hz in its upper position and input selection, programme mode,
at 200Hz lower, while the treble volume and balance, while two
switch gears the turnover to 2kHz further switches serve to switch the
upper and to 4kHz lower. These amplifier on and off and to provide
actions can be better appreciated tape monitoring facilities. The input
by studying the tone control selector allows the connection of
characteristics plotted in Fig 1 programme signals direct from a
[below], when it will be seen that tape-head at tape velocities of both
the turnover (or roll-off) frequency 9.5 and 19cm/s, from a magnetic
is where the boosts and cuts are at cartridge at a sensitivity of about
+3dB and –3dB respectively. 2mV or, with the addition of an

124 | www.hifinews.co.uk | JANUARY 2018

 LEFT: Fig 2 – filter A further unusual feature consists
characteristics of of a filtered third channel outlet to
the amp’s ‘3-D’ drive an extra power amplifier with
section. There signals corresponding to the bass
are three filter frequencies of the right and left
sections: two high- channels together. This suits the
pass between the Baxandall philosophy of driving two
L/R stereo outputs inexpensive, smoothed midrange
of the preamp and treble reproducers separately
stage and power from the right and left channels and
amp, and a mono a much larger bass reproducer from
low-pass feed to the two channels together.
drive an external The low-frequency channel
bass amplifier signals are picked up from the inputs
impedance changing transformer, at the rear for adjusting the inputs of the final right and left stages of
0.2mV, and from two auxiliary (simultaneously) to the two power the control unit section and applied
sources. It is also possible to couple- amplifiers. Finally, there is a three- to the base of a common-collector
in tape monitoring signals either to position switch for adjusting the amp, the third channel signal being
a DIN socket or to a phono socket, speaker damping factor to 2, 10 and delivered by this transistor at low
worked in conjunction with the tape 80 relative to 16ohm loads. impedance and at a level suitable to
monitoring switch. drive most ordinary power amplifiers
The mode selector switch has NUTS AND BOLTS or the auxiliary or radio input of
three mono positions and two Sections of the preamplifiers are integrated mono-only amps.
stereo positions, the mono ones built upon printed circuit board The filter characteristics of this
giving right and left outputs from modules, which plug into the main 3-D section are shown in Fig 2.
signals fed either in to the left or chassis framework and are retained Actually, three filter sections are
right channel and integrated right in position by nuts and bolts. The involved, two high-pass between
and left outputs from signals fed control sections are built around the output of the control unit
into both the right and left channels. printed circuit boards behind the and the right and left power amp
The stereo ones front panel, and inputs, and a low-pass in the circuit
provide left and right the volume control of the common-collector take-off
channel isolation ‘At all times the for each channel transistor, just mentioned. The filters
in both correct and
reversed positions.
amp performed comprises two
potentiometers.
are all tailored for the –3dB turnover
frequency to fall exactly at 110Hz as
The rear panel perfectly and One of these the curves in Fig 2 confirm.
carries all the operates at the Each channel has eight transistors
sockets for input without flaw’ input and the other BELOW: Several in the control section (two for
and output signals, at the output of a views inside the equalised preamplification, two at
being mostly left and right pairs of stage of four transistors comprising amplifier showing the front and two at the rear of the
phono sockets, with the exception the control stages. (left to right) from tone control system and two based
of a DIN socket wired to provide These two potentiometers above; details round the filter circuits) and six in
DIN-standard ins and outs for tape are ganged, together with the of the plug-in the power amplifier section (two
recording and monitoring, and two for the other channel, to the modules; close-up preamplifiers, a complementary
the speaker connecting terminals. main volume control spindle. This of the power amp pair of drivers and a pair of NPN
There are also four power outlets maintains the optimum signal-to- heatsinks with outputs), in addition to which is the
(one switched), AC and DC fuses, noise performance over the whole two transistor common-collector low-frequency
an earth terminal, sunken sockets range of the volume control. pairs per channel output transistor. The power supply
to accommodate the impedance
matching transformer when required
for pick-up including a switch to
operate them, and a switch and
special outlet for so-called ‘3-D
working’, about which more anon.
The control unit and the two
power amplifiers can be easily
disconnected from each other, since
the left and right outputs of the
control units are terminated at a
pair of sockets by the side of another
set of sockets for the left and right
inputs of the power amplifiers,
the pairs normally being coupled
by short links at the rear. There is
also a semi-preset volume control

JANUARY 2018 | www.hifinews.co.uk | 125

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 FROM
FR
ROM T
THE
HE V
VAULT
AU
ULT
section adopts a fully isolated, waveform clipping, and increasing RIGHT: Table
doublewound mains transformer the output to the onset of clipping showing results
connected to a fullwave rectifier revealed good push-pull symmetry of distortion tests
for the main DC supply and to a by equal clipping on each half cycle performed into
half-wave rectifier for a secondary of signal. The power remained up to 16ohm. Similar
supply. The main supply energises clipping at both 40Hz and 10kHz. distortion figures
the output transistors in a circuit but at the higher
protected from overloads by a DISTORTION TESTS output powers
silicon controlled rectifier (SCR). This The amplifier specifications indicate were obtained
is arranged to absorb the overload that loads of 16ohm and 8ohm are with 8ohm loads
power of the output transistors favoured and, mainly because the THD was right down to 0.03% at
in the event of them being driven damping factor control is geared 10W at 1kHz, rising very slightly at
beyond their overload margin. to the higher value, distortion tests powers below this, as is usually the
All aspects of the amplifier were were performed at 16ohm, the case with Class B amplifiers.
carefully tested results of which Input sensitivities corresponded
in the laboratory, are given in the very closely to those given in the
and the results ‘I liked the tone accompanying specifications, as did the tape
are tabulated in
the accompanying
controls for the table. However,
very similar
recorder output voltages. Since
the main amplifier has a preset
performance data. comparison distortion figures level control at its input, the input
The power output but at the higher sensitivities for full power output
capacity corresponds they allowed’ output powers are reduced as this control is
to a sustained 1kHz were obtained with turned down, but the sensitivities
sine-wave signal computed in terms 8ohm loads and the specification, tabulated are those obtained
of RMS audio voltage. This worked indicating that the distortion is less with the control set at maximum.
out to 33W into 16ohm and 49W than 0.1% at full power, was pretty Signals substantially in excess of
into 8ohm – just a shade below well borne out, except at 40Hz, these sensitivity voltages could be
the specifications. This is, in fact, where total harmonic distortion of applied before the control unit was
the power delivered just prior to 0.8% was recorded. However, the overloaded, and the signal levels
recorded under this heading were
LEFT: Fig 3 – those just prior to waveform clipping
frequency in the control unit.
response plots
of pre and main BOOST OF BASS
amplifiers with The curves in Fig 3 show the overall
tone controls frequency response (control unit
switched out; bass and power amplifier) with the tone
boost and cut; controls switched out, the bass
plus the two boost and cut filter action, and the
low-pass (treble action of the treble-cut (low-pass)
cut) filter options filter in both positions. Should one
desire a boost of bass when listening
at low level, then it is a simple
matter to flick-up the bass filter
switch to secure the useful boost
shown in Fig 3.
The roll-off or ‘low cut’ is a bit
slow to act as a good rumble filter.
This appears to be a common
failing of modern amplifiers
worth grumbling about, I think.
Nevertheless, the natural bass
roll-off was found to attenuate
sufficiently the majority of the sub-
bass rubbish which would be likely
to be fed to an amplifier in this price
LEFT: Fig 4 – range. However, the control would
plot showing be of no use with a poor turntable.
the amplifier’s The pick-up RIAA equalisation
RIAA eq filter characteristic is plotted in Fig 4. The
characteristic with ‘perfect response’ shows in more
the (flat) replay practical terms the excellence of the
response after circuit engineering (and component
equalisation tolerances) in this section. These

JANUARY 2018 | www.hifinews.co.uk | 127

 Full Naim Uniti Range
on demontration & in stock

2017 prices apply while stocks last

tel (01394) 672464

www.signalshifi.com

Quatre
What if
. 6 ohms each
. 0.1 mV @ 5cm/s cartridge
. Silver coils was
. Damper mod restored
. Boron cantilever as unique
. Line Contact or artefact ?
LA 1 3
Micro Ridge We do not
believe
that glueing
a cantilever
and
diamond tip

*
is enough.

fine-tuning & fine-repair

Visit anamightysound.com and join us on

 FROM
FR
ROM T
THE
HE V
VAULT
AU
ULT
were obtained from a constant
input signal over the frequency
spectrum, the ‘perfect response’
simulated by feeding into the
pick-up socket a generator signal
via an RIAA filter – that is, the kind
of signal that a perfect magnetic
cartridge would deliver from a
perfect test-disc. The equalisation is
well-nigh perfect.
Finally, the characteristics of the
tape-head equalisers at the two
tape velocities (9.5 and 19cm/s)
conform closely to the National
Association of Broadcasters (NAB).

NEVER FOOLED
Here, then, is an amplifier which room acoustics (unlikely with the ABOVE: Original
conforms very closely (on some
counts, better!) to the published
amplifier permanently established),
then the latter settings have much
pages from the
Jan 1969 issue
Also in HFN this
specifications. It was run for several to commend them. This makes one of HFN in which month in 1969
weeks under domestic conditions wonder whether the conventional Gordon J King
with a wide range of programme bass/ treble lift/cut approaching assessed the CERAMIC PICK-UP INPUTS
sources, pick-up cartridges 20dB is not really a bit too much performance of By Frank Jones.
and speakers and at all times it since how often does one run at the Lux SQ1220
performed perfectly and without control extremes? integrated TRANSISTORS WITHOUT TEARS
flaw. The speaker outlets were The damping factor control amp. Lux would C N G Matthews continues with
shorted under full drive, an action seems to work by negative feedback later blossom Part 16 of his ongoing series.
which resulted in the output falling and resistance-capacitance into Luxman
almost to zero with heavy distortion switching in the speaker circuit. Yet once it began A STEREO BEACON FOR THE
but leaving the amplifier off for a with my speakers I could not find manufacturing QUAD TUNER
minute and then switching on again much difference in performance parts in house. D A Petty explains how to add
restored normal working. This was over the whole range! The heavy The cover shows automatic switching and a
tried several times in an endeavour damping factor might be desirable a hi-fi enthusiast stereo indicator.
to fool the protection device, but it if the speaker system itself is devoid building a
worked blamelessly. of adequate electro-mechanical Peak Sound kit AUDIO ALPHABET
I liked the tone control switches damping or acoustic damping. amplifier, though This month it’s M for myths,
for the immediate comparison they Meanwhile, a jack socket for the presence of with Rex Baldock.
allow between flat conditions and low-impedance stereo headphones test gear suggests
the response modified by the tone is fitted on the amp’s front panel. he is no beginner! MAINTAINING HI-FI EQUIPMENT
control settings. With the switches The circuit to this contains the Part six of Gordon J King’s series
set to 400Hz and 2kHz the basic necessary power limiting resistors, on how to care for your kit.
tone action is similar to most and the speakers are muted when
ordinary amplifiers (see Fig 1 again). the jack plug is inserted. BOWERS & WILKINS DM3
But in the 200Hz and 4kHz positions Nice to look at, nice to use and Ralph West gets to grips with
the rate of change of response with very well made and designed, I vote the company’s latest monitor.
control rotation is significantly less, the Lux SQ1220 a top-of-the-class
and unless one needs drastically amplifier which, I am sure, will hold TRUVOX FM200 IC
to swing the response to suit its own with the best of the other Gordon J King tests this British
differing signal parameters and/or Class B designs now available. company’s stereo FM tuner.

LEFT: Originally POPULAR MUSIC ON DISC

launched as the By Ivan March.
SQ31 in Japan in
1967, the SQ1220 READERS’ PROBLEMS
was its overseas Examined by ‘Crossover’.
model number.
The design CRITICS’ CHOICE
inspired several Our record reviewing team
similar-looking brings you the best of 1968.
models including
the tube-based BBC STEREO
SQ-38FD amplifier By Angus McKenzie.
pictured here

JANUARY 2018 | www.hifinews.co.uk | 129

 To help ensure accuracy, your classified advertisements
must be submitted by email or post...
MARKETPLACE Please email your entries to: letters@hifinews.com

THE PLACE TO Email: imeldayates@hotmail.com

Tel: 07500 804700
96kHz/24-bit. M33 active rears, all in
black, all VGC. Cost £11,000. Want
BUY & SELL AUDIO CREEK T40 tuner. Excellent
£2500 ono. Sorry cannot split.
Tel: 07771 508444/01205 872155
EQUIPMENT & ACCESSORIES condition. Original box and manual.
Smoke-free home use since new. 12. MISCELLANEOUS
£63 including carriage in UK.

NOW FREE
2. AMPLIFIERS postage. Email: michaelj.barlow@
Tel: 01445 712462

9. TURNTABLES
HANA EH moving-coil cartridge,
brand new and boxed. Never used
INNUOS Zenith Mk2. Bought
Feb 2017. In excellent cosmetic
condition and full working order,
complete with instruction book,
mains and Ethernet cables, receipt,
and original packing. £1200.
me.com. Tel: 07982 611452 as it was an unwanted gift. Great Email: dave.drew@talktalk.net
MUSICAL Fidelity X-150 half-size reviews in the audio press. RRP Tel: 07549 603398
amp, 2x80W, phono stage, vgc, MUSICAL Fidelity X-Ray £384, selling for £200 ovno.
£100. Musical Fidelity A3-2 phono V3. Half-size player (matches Tel: 01483 472650 13. WANTED
stage, 2x115W, vgc, £85. Email: the X-150), vgc, £100. Email:
johnlipscomb1948@gmail.com johnlipscomb1948@gmail.com SME 3009 arm. Audio-Technica REVOX B77 MKII. Must be in very
Tel: 012643 63259 Tel: 012643 63259 ATOC9 MC cartridge. Offers please. good condition with instruction
Both arm and cartridge in very good manual, original box, etc. Send year
BOOTHROYD Stuart Meridian 5. DACS condition. Tel: 01308 868044 purchased and details please.
Control Unit 101. Vintage preamp Email: wag@iname.com
dated June 1979. Owned from new. CHORD HugoTT, black, near BEOGRAM 3300 turntable with
Some cosmetic signs of wear, can mint, 21-months old, box and MMC4 cartridge. Nice condition, TECHNICS turntables wanted,
supply photos. Magnetic phono, DIN remote. £1600. Email: kevinvass8@ £350. Tel: 07906 334385 (mobile) SL-150MK2, SL-151MK2, SL-1500MK2,
connections. Comes with original gmail.com. Tel: 07525 069114 or 01708 440639 SL-1510MK2. Working or not.
box and user instructions. £250. Tonearms. Anything considered,
Tel: 01564 794657. Email: colin. AUDIOLAB Q-DAC. Silver. GARRARD 301 turntable in vintage/modern, fixed/detachable
usher@homecall.co.uk Perfect condition, boxed, under Northwest Analogue slate plinth headshell. Tel: 07963 457609
24 hours’ use. Can demonstrate, with two armboards. £2500. Email: zen57@rocketmail.com
PRO-JECT Phono Box DS. RRP pictures available if required. £160. Tel: 077707 72647
£175. Few months old, perfect with Tel: 07976 407863 FAULTY or non-working Quad 44
Ortofon 2M Bronze cartridge. New SME Model 10 turntable. No preamp, later model preferred. Cash
amp has built-in phono stage so 7. SPEAKERS tonearm, excellent condition, boxed. paid. Tel: 01758 613790
Phono Box DS is no longer required. £1500. Tel: 01942 516092. Email:
Original box and instructions. REGA RS5 loudspeakers, cherry stephen-holme@blueyonder.co.uk HI-FI NEWS Issues 1 and 3
Suitable for both MM & MC. Offers. finish, excellent condition, supplied to 9, of Volume 1. Also February
Email: grant.darras@gmail.com with box, £450. Tel: 01772 862264. 11. SYSTEMS 1996. Email: jcgl@audiomisc.co.uk
Tel: 01661 823606 Email: pabates100@gmail.com
SHANLING MC30 valve CD/ SONUS FABER Amati
NAIM NAC 122X, NAP 150X with KUDOS C10 speakers, £1395 tuner/iPod dock including box/ Anniversario Homage, Guarneri
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Tel: 07748 320549. Sycamore finish. Excellent condition. you need for a second system. All in Must be in absolutely mint condition
Email: mcleodian43@yahoo.co.uk All packaging included. perfect condition. For sale as one and red. Tel: 01269 595271
Tel: 07706 105061 item, £800 ono. Tel: 07903 489200
3. CABLES SME 20/3 Turntable.
ATKINSON transmission-line MERIDIAN system comprising Tel: 01942 516092.
CHORD Rumour 4 speaker cables design loudspeakers constructed G92 preamp/processor, DVD, CD, Email: stephen-holme@blueyonder.
for bi-wire, 4m pair, bananas, boxed, in the late ’70s. Used regularly, FM/DAB; DSP5000s and 5000c all co.uk
£160 ono. Chord Chameleon Silver now as the rear pair in a surround
Plus interconnect, balanced, XLRs, sound set-up. The speakers include
1m, £80 ono. Chord Chameleon KEF B139s, B110s, twin Celestion PLACING AN ADVERTISEMENT IN THE HI-FI NEWS CLASSIFIEDS SECTION
Silver Plus interconnect, 1m, HF1300s, Kef T27s and Coles Fill in your advertisement copy here...
RCAs, boxed, £30 ono. Email: 4001K. All functioning. Photos of Please write the product category number that best suits your equipment in the
mikethompson48@hotmail.com construction can be provided. Offers first square. The product categories are: 1 – Accessories; 2 – Amps; 3 – Cables;
Tel: 01582 867139 around £500 cash. Buyer to collect 4 – CD/DVD players; 5 – DACS; 6 – Software (CDs, records etc.); 7 – Speakers; 8 –
due to considerable weight and Tuners; 9 – Turntables; 11 – Complete Systems; 12 – Miscellaneous; 13 – Wanted
4. CD/DVD PLAYERS can audition. Email: colin.usher@
homecall.co.uk. Tel: 01564 794657 We will insert the telephone number you want to appear in your advertisement(s)
AUDIO Aero Capitole Mk II as many times as is needed. You only need to fill it in once and it only counts as
192kHz/24-bit CD player. Brand DALI Zensor 5 floorstanding one word – even if you run multiple adverts.
new, unopened box. Silver finish. speakers. Black, vgc. £125. Email:
UK dealer supplied, guaranteed johnlipscomb1948@gmail.com
brand new, never used and still in Tel: 012643 63259
manufacturer’s sealed box. £5000.
Email: jayeemmm@gmail.com REL T5 subwoofer, two-years old,
Tel: 07887 885272 light use, absolutely as new, manual
and leads. Regret no box. Asking
OPPO 205, four-weeks old, mint, £200. Tel: 01582 867139. Email:
£1195. Collection only from NW mikethompson48@hotmail.com
London. Tel: 07956 121013
8. TUNERS
CAMBRIDGE Audio Azur 751 Tel (to appear in advert):
BD Blu-ray disk player supplied with MUSICAL Fidelity A3.2 RDS
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132 | www.hifinews.co.uk | JANUARY 2018

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 LAST WORD

OFF THE
Sgt Pepper’s... imaginable, we barely
noticed the speakers, powered by all-EAR
tube electronics.
Tim had taken two pairs of Falcon

LEASH!
LS3/5As and stacked them à la Advents in
the 1960s. The bottom pair was placed
right-side up on the tall stands, the top pair
up-ended so the tweeter was close to that
of the speaker underneath. The two pairs
KEN KESSLER
ER TE
TELLS
ELLS IT LIKE IT IS...
. were wired in parallel. The sound was louder
and deeper than any I have ever heard
Ken Kessler reckons he from LS3/5As, but without any loss of the
hasn’t enjoyed his system midband purity, clarity, detail, openness or
image positioning which established my
so much in years. But devotion to the small monitor.
what’s the big secret? Having been reassured that I could
repeat this with my 15ohm Rogers below
or this one, I will forever be indebted Many of these cod-LS3/5As are excellent, the 11ohm Spendors without undermining

F to Tim de Paravicini and Falcon

Acoustics. It involves BBC LS3/5As,
and long-term readers know that
in my humble opinion, they rank with Quad
ESL 57s, Koetsu and Decca cartridges, SME
but purists still favour the Rogers, Spendor,
Chartwell, Audiomaster, Goodmans et
al models made before the drivers and
crossovers were discontinued by KEF, and
spares became high-priced fixtures of eBay.
the concept, I went one stage further.
Luckily, I had two identical pairs of Crystal
speaker cable, so wire was not an issue. The
Audio Research REF 6/REF 75SE combo has
been sounding glorious. The front-end is the
arms and turntables, Apogees and other SME 30/12 with DS Audio Master 1 optical
monumental components. SUPER RARE cartridge. What I added were the Rogers
It started with Tim assuring me, at Where Tim comes in is as the distributor for AB1 subwoofers in place of stands.
the 2017 Tokyo High End Show, that Falcon in Japan, through Yoshino Trading.
the Falcon’s reverse-engineered LS3/5As Anyone who has attended an EAR-Yoshino DO-IT-ALL SPEAKERS
were ‘virtually indistinguishable’ from the demo knows that Tim prefers to use open- After three decades with massive speakers
originals. As Malcolm Jones, the company’s reel tapes, played over a super-rare, semi- including assorted Wilsons – which remain
founder, was one of KEF’s first employees professional, probably-Japan-only Denon. my reference – and panels including
and designed and developed the legendary When I approached the room, Tim grabbed Apogees, Quads and MartinLogans, scale
B139, B200, B110, T15 me, but not to hear what and mass have been taken for granted. I just
and T27 drive units, he was doing with the expect it. There have always been trade-offs
this isn’t a stretch. In a ‘Tim de Paravicini Falcon speakers. Rather, because small speakers cannot deliver the
big way, then, ‘reverse-
engineered’ is misleading
grabbed me... he wanted me to hear
a tape brought in by a
sheer physical presence owed to deep bass
and limitless playback levels. Equally, I’m
as he was the key player
in their beginnings.
he wanted me to show visitor.
It was a mint, original
always at a loss to find large speakers that
‘disappear’ like mini-monitors, or offer their
With Falcon, said hear a tape’ copy of the quarter- imaging precision. Stacked LS3/5As do it all,
to be the country’s track, 7½ips US open though I haven’t tested the maximum SPLs
largest supplier of drive units, Jones and his reel of The Beatles’ Sgt Pepper’s Lonely because I do not want to blow my 30/40-
colleague Jerry Bloomfield have undertaken Hearts Club Band. Having just had all my year-old speakers.
a programme of returning these speakers conditioning overturned by the magnificent I haven’t enjoyed my system this much
to the marketplace, not least to enable remastering undertaken by Giles Martin in years. Tip: If you can get two pairs of
servicing of the many hundreds of thousands for the album’s 50th anniversary, I was not LS3/5As together – yours and a friend’s –
of vintage KEF speakers still out there and prepared for what I heard: the aged open give it a try. Just place a pillow at your feet
not ready to be turned into bonfire fuel. reel tape massacred the 2017 reissue. to protect your jaw when it drops.
As the company also makes speaker kits, There are witnesses to this, including top There’s a coda to this. When I got back
crossovers and enclosures, it was only a studio boss Allen Sides of Ocean Way, a man to the USA, I went to my storage area and
matter of time before it responded to the with decades of listening experience. He, found… a quarter-track, 7½ips US open reel
demand for vintage LS3/5As, serviced fitfully too, was gob-smacked. But so taken were we of The Beatles’ Sgt Pepper’s Lonely Hearts
over the years with assorted facsimiles. with the most natural, lifelike and embracing Club Band! Ker-ching! That’s £100 saved.

PLUS:

Feb Issue EXCLUSIVE TESTS:

î dCS Vivaldi One CD/SACD/network player
î ELAC Adante AS-61 ‘coaxial’ standmount
î Music First Audio Senlac SJE monoblocks
î Vintage Review: Hitachi HA-7700 MOSFET amp
î Show Blog: We visit the Tokyo Audio Show 2017
î Classical Companion: Ludwig van Beethoven
on sale 19JAN th
î Questyle QP2R/HB2 digital audio player
î Parasound JC3 Jr MM/MC phono preamp
î From The Vault: We crack open HFN’s archive
î Vinyl Icons: Jackson Browne’s Late For The Sky

138 | www.hifinews.co.uk | JANUARY 2018

 NE DU H
PR AU
O NC
W CT
er

L
Pioneering world class audio products

Introducing PS Audio’s new Stellar range

Affordable
ff high end HiFi products

Stellar Gain Cell DAC Combine a cutting edge DACs output with a no compromise
analogue preamplifier. A unique combination of a gorgeous
full-featured digital to analogue converter and state of the art
analogue amplification. Based on industry leading Sabre32 bit
Hyperstream architecture, Stellar DAC features a fully balanced
Class A analogue output stage with multiple power supplies,
independent jitter-reduced inputs, DSD, I2S, and
Price £1,700 asynchronous USB.

Breathe new life into your loudspeakers with the Stellar S300, Stellar S300 Stereo Amplifier
one of the most extraordinary under £5,000 stereo power
amplifiers ever crafted. The S300 combines the slam,
linearity, and toe-tapping pacing of a Class D output stage
with the warmth, grace, and rich inner detail of Stellar’s Class
A proprietary Analog Cell.

Price £1,50
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Stellar M700 Power Amplifiers

The Analog Cell is the heart of the M700’s musicality, where richly
overlayed layers of music’s inner details are preserved even in the
most complex orchestral crescendos. The Analog Cell is a proprietary,
fully differential,
ff zero feedback, discrete, Class A MOSFET circuit,
hand-tuned to capture the smallest micro dynamics without
sacrificing the loudest macro dynamics music has to offer.
ff

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Distributed by Signature Audio Systems | 07738 007776 | www.psaudio.com

 ŎDVRXQGTXDOLW\WKDWUHGHƂQHV
what is possible from vinyl.”
Air Force III SAT, Alan Sircom - Hi-Fi+
“..strings were as sweet as maple syrup”
Airforce III, Ken Kessler - HiFi News

Not one but two revolutions in analogue playback GULYHEHOWV%HDULQJVDQGFKDVVLVƃRDWRQDLU/3VDUH

can be attributed to Nishikawa-san of TechDAS. held in place by vacuum. All can host more than one
First, he created masterpieces for Micro-Seiki. Now, a WRQHDUPWRDFFRPPRGDWHGLƁHUHQWFDUWULGJHV
generation later, his has evolved his innovative design
criteria for the 21st Century. :LWK$LU)RUFHPRGHOV2QH7ZR7KUHH3UHPLXPDQG
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