Dan Worth plugs the £900 MUTEC MC-3+ Smart Clock USB into a couple of his systems with some interesting results. 

MUTEC products are installed in cutting edge broadcast and television stations, well-respected recording and mastering studios as well as renowned musical theatres, opera houses and universities all over the world. The new line of audiophile consumer products takes their experience from the broadcast and pro audio world into the listening room at home to provide a level of audio performance generally only found in the professional world where the bang for buck is far greater.

Company Background

It was the year 1989 – the first Love Parade draws a crowd of about 150 ravers to Berlin’s Kurfürstendamm laying the foundation for years of techno revolution to follow. The very same year Christian Peters, CEO of MUTEC GmbH, registered his business for the first time with the city of Berlin. Together with a classmate of the time, an audio engineer at the former Teldec studios in Berlin, he was musing about an appropriate name for the newly conceived company in his home’s party room. From the start it was clear to them both that the brand name should symbolise the liaison between music and technology. So the name and its maiden spelling came to be: Mu-Tech.

In the 90s, as part of a re-design of the brand logo, the company name MUTEC was established to be more appealing to a global audience.

The first product was handcrafted by Christian Peters in his dad’s workshop around the end of 1989. It was a 2 MB flash memory expansion card for the venerable AKAI S1000 sampler, a product Mr. Peters had just been able to afford thanks to several summer jobs. Since the sampler had four slots for memory expansions Mr. Peters and his father built more cards for himself and also started to offer them to DJ and musician friends for purchase.

This sparked the idea of selling these expansion cards to studios in Berlin and the surrounding area. As the young business made a name for itself the first distribution contacts and an expansion of the product portfolio were soon to follow. The success of the memory cards led to a bigger scale, automated production by a Siemens owned contract manufacturer. Later in the 1990s MUTEC became an exclusive supplier of memory expansions for all European AKAI distributors.

When the company registered as a limited liability company in 2001, Mr. Peters began designing the first audio and video clock generators, format converters and sample rate converters with the help of an extended team of skilled developers. It’s these products that MUTEC are still widely known for around the world.

Currently MUTEC is focusing on the HiFi market where the MC-3+USB Smart Clock USB with its unique audio re-clocking and USB isolator capabilities has gained an excellent reputation and is a product which is right up my street due to the nature of the systems I run.. MUTEC is furthermore about to release a range of products specifically designed to meet the demands of audiophile customers. Even so, MUTEC continues to provide support and develop new products for professional audio applications and mastering studios.

Company Philosophy

“The symbiosis of music and technology is the foundation for the beginning of the company and still today this concept is at the core of every product made by MUTEC. Technical know-how, transparency, and exceptional audio quality are our highest priorities. Instead of overpriced, esoteric mumbo-jumbo with questionable results we focus on real, reproducible, and measurable solutions to achieve the utmost sound quality.“

Hands down one of the most encourage-able comments I’ve heard from a company in years. MUTEC are definitely a company after my own heart, combining technology and music with a realistic price tag that the world of Hifi should take strong heed of!

It’s Mr. Peter’s personal mission to source the highest quality components within a given product budget, since those components directly affect audio performance. He continues to push the boundaries up to the limits of financial viability to get the best sound quality possible for the money.

Signal Processing and Jitter Control 

In A to D and D to A conversion, the digital signal needs to be clocked accurately to prevent distortion. Digital audio is made up of amplitude values of a signal at different points in time (known as samples). Samples are taken many times a second, and need to occur at regular intervals (44.1 kHz is the sample rate used in commercial CD audio). If this does not happen, the amplitude of the signal will not be recorded or played back at the correct time and so distortion will be introduced into the signal. When the clock is not consistent in its timing, the resulting distortion is known as ‘Jitter’. If the clock frequency changes, it is known as ‘Drift’.

Firstly, without getting too technical I’ll explain why we need a word clock. Digital audio, as we know, is made up of 1s and 0s, or ‘bits’. These bits are grouped into sample words. The word size for common digital audio is 16bits, 24bits and 32bits and even 64bits. When talking about 24bit audio, we mean data with sample words of 24 registers for bits. When these sample words start and end at the same exact time on several devices, we have ‘word sync’. Which is what we want, synchronising all clocks in the digital chain.

When using multiple digital audio devices they must use the same size word and travel at the same speed (sample rate). So what would happen if you send a signal at a clock of 48kHz into a device working at 44.1? The receiving digital device may well just not lock or you might find one of the devices explode into an intensely loud cascade of white noise, which I’m sure people have encountered via computer audio, I know I have on many occasions using my Mac, which requires accessing of the ‘Audio Midi Setup’ to choose the correct clock rate for the material and accompanying DAC/clock.

If the clocks are very close, but not perfectly, synchronised then this is when we get “jitter”.  Jitter may be subtle or extreme.  At it’s extreme, there will be distortion that almost sounds like ring modulation or an intense tapping/popping sound. Sometimes you will hear the rhythmic pulsing of soft white noise bursts happening about a second apart. As the rates get closer this is more like loud popping and crackling noises in the audio which still makes the sound unlistenable  As the rates get even closer, you might hear only a few microscopic barely audible ticks now and again. Many of us may actually have systems plagued with Jitter but because the artefacts are so far apart we tend to ignore them like one would ignore the occasional vanilla record pop and click. Actually, you can have a perfect lock without clicks and pops, but still have quite a lot of Jitter. These subtle timing errors usually affect spatial resolution and staging, as well as the depth of the sound field.

Adding a Word Clock

Clocking between devices can be carried out in a few different ways. Devices can be connected using a BNC cable connected to the “Word Clock In/Out” of the device. Other connector types can be used such as RCA in this way as well. Devices can be connected in daisy chain configuration where a BNC T piece is used to split the clock signal but this is more so for professional studio use.

When using AES, S/PDIF or ADAT, the clock signal is encoded into the data stream so there is not necessarily a need for a BNC cable to provide a clock signal. The type of connectors used to clock depends on the equipment being used in the setup. This is the most common way for the Hifi enthusiast to integrate a clock into their system.

For the purposes of this review the MUTEC MC-3+USB will be used as a reclocker or SPDIF converter and again the most common way of implementing the clock is via the USB input from a computer or streaming device. The idea is that the dirtiest power from the computer fed across the USB +v/-v rails is isolated from the DAC, the MUTEC will re-clock and reduce the amount of jitter associated with the computers noisy clocks and reprocess the signal into either RCA, XLR or Optical outputs which as mentioned before carry the clock word length and sample rate in order to lock the DAC to a precise size, ensuring a stable signal.

So now you have a stable lock and music is without pops and clicks the only other option is to determine which cable sounds the best for your tastes and DAC implementation, I suggest AES/EBU, then RCA coaxial, then optical as a last resort, the reason being is simply down to the favoured sound quality over many years of testing the cable and connection types.

The Physical Unit

The MUTEC MC-3+ Smart Clock USB has a solid steel case with a 4 mm aluminium front panel which is available in black or silver. The fitted feet have recesses for included rubber rings which adjust the sound subtly. If your a fan of Xmas then the front fascia of the MUTEC will please you. There are led status lights for each and every bit depth and sample rate, along with PCM and DSD designations, the lights are bright and after a while of me using the unit, becoming familiar with its settings and syncing it with my DAC I soon found a spot where it could live in behind other equipment to hide the front panel lighting. Note: Optionally, you can also turn off a LEDs except for Power and Lock with a key command. The MC-3+USB has a single USB input for computer or streamer connectivity, along with optical, BNC and AES/EBU inputs. Outputs to AES/EBU, RCA coaxial and optical SPDIF variants are available. There are also 4 BNC Word Clock outputs. I would have liked to have a HDMI output for direct I2s coupling to my DAC but I’m sure that the innovative MUTEC will look into this in future products, other than that the MUTEC is as feature rich and informative as I and other consumers will require.

The Sound

My main passive system has two digital sources, a Melco N1/a and a Modified Mac Mini. I already use a clock from digital whizz kids Rockna – the Audiobyte Hydra Z and accompanied ZPM power supply, which I enjoy very much, having concluded very early in its demonstration period to be a crucial part of my setup and replacing a former model from the company. Unlike the Hydra the MUTEC doesn’t have the ability to use an external linear based power supply to clean things up even further. The Hydra doesn’t have a front panel dressed in a techni-coloured dream coat, you could argue that the front panel is extremely informative where the Hydra has absolutely no indication to what’s going on and it costs £300 more.

The MUTEC doesn’t have I2s over HDMI. What it does have though is a host of digital inputs all selectable via the front panel, rather than the Hydra’s single USB input and a preferred by many no doubt simple one box solution. Both have multiple clock outputs to sync multiple devices or multi room systems, the MUTEC however is the only one of the two that has the standard 5v Word Clock output, the Hydra uses the older 3.3v which I’ve found isn’t compatible with much I’ve tried it with unfortunately.

In short the MC-3+USB sounds cleaner and more transparent than the Hydra Z, the Hydra Z is a little softer sounding, not having the level of absolute precision of the MUTEC. I preferred the Hydra with the Mytek Brooklyn DAC due to its own clean nature and the MUTEC is the perfect companion to my main systems DiDiT 212SE DAC, bringing welcomed sonic benefits to either DAC.

The best way to describe the sound of the MC-3+USB in the system is stable. The soundstage goes from a slight ghostly blur to a solid, accurate and clear image. Leading edges of symbols, plucked strings and drum strikes are much more accurate and realistic in tone and timbre. The outer boundaries of the soundstage too have more prominence in their appreciation. Notes are more easily discernible and micro details become clearly defined rather than a lesser defined smear in the darkness, overall giving better structure, three dimensional and presence to a performance. This, all truly audible even with my already very clean and well worked out system.

When listening to vocals, the differences come with more natural and effortless power, better expression of the upper mids allowing for clearer toning of extreme highs from females and the same dignified approach to the lower end of a males voice. Overall positioning in general of the vocal is more focused, stable and organic.

Extra transparency and background darkness throughout the frequency range achieved by the MC-3+ produces increased separation especially noticeable in the high regions gives a larger performance and allows for more inner detail to come through without swamping the soundstage or becoming confusing or exhausting, even with it’s cleaner presentation. The MUTEC really allows the listener to explore recordings in more depth, digging really deep into the mix and extracting the finer rifts and tempos to make for a more complex performance, sometimes finding flaws in the music which are masked prior, but in most circumstances proves to be very interesting and adds a new dimension during listening sessions from time to time.

If you’re the kind of person who likes tweaking your system, with different cabling, supports, positioning and other magic trinkets you will undoubtedly love the MC-3+USB. Adding one to any system – as well as giving large improvements in detail and timing, also allows for other smaller tweaks elsewhere in the system to become more prevalent due to a greater level of transparency in the source signal. Similar to having great tyres and suspension on a car, allowing the driver to communicate with the road and other performance tweaks more intelligently.

Listening to the music and not just the equipment is a phrase used by many these days as high-end Hifi does have a tendency to lean further towards the exploitation of detail and dynamics, which can often lead to a starker and less involving rendition of the recording. The MC-3+ Smart Clock USB from MUTEC has the ability to extract information on a nano level and does an incredible job of maintaining musical flow and natural dynamics. The passion in the music is reflected by MUTEC’s passion for building equipment that can steadily walk the tight rope between accuracy and emotion and listening g to live performances from the likes of Sting, Candy Dulfer and Fink reflect this statement.

Every live performance I listened to really opened up a window into a deep soundstage that clearly defined spacial awareness of each band member along with clear placement of the crowd. Each applause was separate to the stage and even stage height was more defined than without a master clock in play. Acoustics and reverbs dependant on venue were so well perceived that late night intimate listening gave that ‘transported to the concert’ feeling, which again adds to the enthusiasm for the music and our own emotional connection with it and our systems.

In theory, good digital should always be better than by nil but in practice it’s really not true, however as technology develops and companies such as MUTEC keep pushing the boundaries producing equipment with love and honesty at their core maybe digital will find its way into the hearts of more enthusiasts.

My Active Systems

I have two active systems also at home, one is a pair of Focal CMS50 which sit on the desk and are ran via a Mac Mini connected to a Mytek Brooklyn DAC as the only source and the other comprises of Focal CMS40’s with the CMS Sub, this system also has a Samsung 55” curved screen, a Virgin Media TiVo Box, an Innuos Zenith MK2 streamer and an Amazon Fire TV, all into an Audiolab M-DAC.

Adding the clock to the first of these systems (desk) allowed me to use a BNC cable to lock the Word Clock direct to the Mytek Brooklyn DAC, produces results that were quite honestly as respectful, transforming and as enjoyable as the passive system. The lock was initiated instantaneously after cable connection was made. This system is reflective of a small home studio system and with modifications to the Mac and running AmarraRemote Symphony it is more so a playback system really, although can easily be changed with software to a mixing system, none the less even with upgraded linear supplies and exp naive cabling and unlit mains setup this system was taken to a new level of detail retrieval and overall performance with the MC-3+USB in the chain.

The second system warranted a clock ideally which could decode and re-clock a range of inputs to cover all the sources used in this setup and fortunately the MUTEC can. Now I couldn’t connect all devices directly at first until I borrowed a non-expensive D to D converter as there are just way too many opticals involved in this setup. Although this setup allowed for access to the high-precision clock employed by MUTEC in the MC-3+USB my direct connections to USB and optical were producing a superior sonic performance than using the digital to digital  converter. I was pleasantly surprised to find that the clock was able to produce an unsuspected rich and well balanced sound across a real glass optical and into the M-DAC, although USB and the AES and electrical SPDIF inputs along with USB still attained a sound which is superior.

There’s absolutely no doubt in my mind that MUTEC’s MC-3+USB is and was an instrumental part of the audio chain in all the systems I implemented it. Although each system is of good pedigree the extra abilities of the precision clock added a new level of detail and timing that simply cannot be overlooked when building any quality digital system.

Conclusion 

Adding a MUTEC MC-3+ Smart Clock USB to your music source will improve a system substantially, in fact it will enhance the sonic performance of the majority of systems and sources to a quite substantial degree.

The stability of the system pertaining to phase control and timing will allow a system to sound more effortless and controlled, with a greater sense of realism and believability within the newly structured soundstage.

An MC-3+USB will extract a whole heap more detail from the recorded material and present it in a manner which retains musicality. It’s compatible with a whole range of streamers and works without issue on Windows or Mac and will support any source with any variant of SPDIF output.

Take your standard source to new heights or your high-end source to the next level.

AT A GLANCE

Build Quality – Solid, strong and sturdy

Sound Quality – Detailed with fantastic timing/imaging and strong musicality

Value For Money – Very strong performance and features with a fair price tag

Pros

Loads of inputs and outputs

Incredibly low jitter

Excellent imaging and timing

Clean, grainless sound

Black background

Large increase in detail

Musical

Cons

Front panel lights will offend some

No I2s over HDMI

Price: £900 give or take dependant on retailer

Dan Worth

Matthew Sampson takes a listen to the Hifiman HE-400S planar headphones costing $300 (£239).

Being objective is difficult, especially when you go in with a strong bias. I wanted to be right, more than anything else, because I wanted to feel good about a personal purchase. When I got the Hifiman HE-400S, I already had experience with planar headphones, in the form of my Fostex TH500RP. They were bigger, they were sturdily built, they were luxuriously appointed, and, perhaps most importantly, they were a full USD 100 more expensive. So naturally, I didn’t want to get sudden work-related buyer’s remorse. Luckily I didn’t, but I also wished that I’d bought the Hifiman cans.

The Science:

A quick background, for those new to head-fi, on what exactly planar magnetic, aka orthodynamic headphones are. Sure, you could say that electrical current goes in, audiophile space wizardry happens, and music comes out, but that doesn’t cut the mustard. The long and short (Read: Intelligible) version of it is that you have a membrane that’s interwoven with an electrically conducting grid suspended between two oppositely polarized magnets. When electricity is applied, the plane of mesh and membrane vibrates within the field of the magnets, creating sound waves. Because of this very large voice element, planar headphones tend to be large, heavy, and very good at reproducing bass frequencies. But before you think that I had to evaluate a pair of magical portable subwoofers, don’t worry, they can reproduce the rest of the frequency range pretty well too.

Build Quality

Back on track, planar headphones are, as mentioned, usually quite large, and the HE400S’ are no different, They come in a big deep box, and include the headphones, a cable and a ⅛” to ¼” adapter. Yes, the stock cable terminates in a 3.5mm jack. And there’s a reason for that. The construction of the headphone body is mostly polymer, apart from the backing grilles, and structural headband. This makes the HE-400s unusually lightweight, especially considering the reputation that planar headphones have. For adjustment of height, you have a pleather headband under the structural headband that moves up and down on either side independently, in case you’re like me, and have a weirdly tall cranium. The earcups are made of a velour material, and are quite comfortable, if you don’t mind the fuzz.

The reason for the default cable being 3.5mm is actually one of the HE400S’ biggest strong suits. They have a shockingly low impedance, especially for planar headphones, and can easily be driven by most mobiles or DAPs, without the aid of an external amp. However, Samsung mobile phones and integrated sound cards on desktop computers seem to have anemic amps, but most of you wouldn’t use those anyway. Even inexpensive amp/DAC combos like the FiiO E07K can adequately power these, with perhaps some adjustment to the gain settings.

This low impedance hurdle  makes them very good on-the-go headphones in the ease of use department, and their light weight means that they’re comfortable to wear and carry. The trouble of course still remains that they’re planar headphones, which means that due to their open back, they leak like a sieve. These aren’t headphones that you’ll walk around with, or even listen on in a public place, but they do make fantastic travel headphones for a bit of relaxation in a hotel room, and they’re also a great pair for anyone who wants to get into planar headphones without having to shell out another USD 600 for an amp just to drive them efficiently. Of course, when using them with a Hifi system or desktop amp, the included 6.35mm adaptor allows you to really let these things sing. Just because it doesn’t need an amp doesn’t mean that an amp hurts. The cable itself is removable, terminating in two 2.5mm TRS plugs that are labeled for their proper ear, so you can swap in your own premium cable, if you feel like having a native 6.35mm plug, or if you want some outrageously pure wiring material that’s been thrice-deoxygenated and made of pure gold harvested from an asteroid in Venus’ orbit.

Listening

Planar headphones, as mentioned before, have a bit of a reputation of being deep and dark in tone, reproducing the lowest of bass frequencies. These particular ones have a lower-end frequency response limit of 20 hz, but that’s about where human hearing cuts off on the lower end. This isn’t especially low by any standard, but the bass response on these is snappy and pleasingly low in distortion. The upper limit is 35 khz, well above the circa 22khz upper limit of the hearing range of any human, but that’s done with the idea in mind that the higher the limit, the less likely the user is to experience distortion in the audible 20-22k range. It was at this point where my buyer’s remorse began to set in. My Fostex headphones sound spectacular to me, and they’re not bad headphones at all. But the HE-400S’ were, dare I say, better in many regards. I put my music library on shuffle in Foobar2000, and just cycled through all these tracks that I knew so well. Some tracks sounded basically the same, but others? My jaw physically dropped. The two areas where the HE400S’ shine bright are songs with lots of reverb (So, all that 80s pop that I love) and songs that were recorded in a live environment. (classical, live albums, and anything recorded before the mid 70s, basically) Other types of recordings sound fine, great even, but if all you listen to is hardstyle EDM and Meshuggah, you might not notice the subtleties of these cans. (Which also doesn’t solve the issue of you listening to Meshuggah, but that’s for another time.) If you hate hearing the room in Cream’s “Sunshine of your Love,” this tells me two things. Firstly, you shouldn’t be listening to Cream, because all their songs sound like that. Secondly, the HE400’s aren’t for you. But if you like feeling like you’re actually there at a symphonic concert, or if you love placing the instruments in Charles Mingus’ “Haitian Fight Song” or even if you just want to feel like you’re there at Clapton’s 1991 Royal Albert Hall concerts, as captured on the “24 Nights” CD, then I think you should strongly consider the HE-400S headphones.

I switched off shuffle, and loaded my play queue with every live, orchestral, and live-room recorded song. I deliberately sought out the most difficult songs to play, and looked for stuff that sounded average to mediocre on any other system. So I played Phil Collins’ live cut of “In the Air Tonight” from “Serious Hits…Live!” which has always sounded very washed out. It wasn’t magically crystal-clear, but I could actually hear bass now, and the treble was significantly more perceptible. The frequencies seem to be tuned exactly to the right point to make reverb more audible, be it artificial or a natural result of live recording. If you look at the frequency response chart, there’s a slight peak from 8000 to 10,000 Hz, which is where you’ll find frequencies that add the clear, airy sound that I heard with the recordings.

This greatly increased the immersiveness of any live recording, and also led me to find another use: Film viewing and computer gaming. Because of the high levels of environmental sound, particularly on movies famous for having a good surround or stereo mix, the HE-400s became my optimal choice for viewing “Star Wars” for the umpteenth time or for watching well-mixed films like the 2011 actioneer “Inception.” If you’ve seen the latter, there’s a particular scene where a man is hit by a car, and his head impacts the windshield, which we hear from the inside of the vehicle. I’ll admit, I winced in sympathy. As for gaming, the fantastically Foleyed “Battlefield 1” had me flinching with every bullet that passed my head, and the deep bass response of the planar headphones gave a visceral depth to explosions. Caveat: When viewing films, surround mixdown sounds cool the first few times, but your results will generally be better if you use the stereo mix (if available.) Games often offer a headphone option, so there’s no issue there.

The Bottom Line

I want them.

I could have left my entire review at that line. That’s how good these are, despite being USD 100 less and having a largely polymer construction, vice the metal of the Fostexes, as well as lacking the creature comfort of the leather earcups. Are they the best planar headphones ever? I can’t say. Ask me again when I’ve listened to all the planar headphones out there. What I can say is that they’re a joy to listen to for many different applications, comfortable to wear, and have the added flexibility of a removable 3.5mm plug and low impedance.

AT A GLANCE

Build Quality:  Good. A largely polymer speaker housing and metal headband provide a sturdy, light feel. They’re not tanks, but they don’t feel like they’ll fall apart in your hands.
Sound Quality:  Very good, astounding on some songs. Incredibly fun for live, orchestral, and older recordings (dust off your jazz albums!) and they handle 80s music quite well. Pleasing high end, especially considering that they’re planar.
Value For Money:  Excellent. For USD 300 (£239 UK), you’re getting a very good package, and they make a wonderful addition to anyone’s collection, or even first foray into planar headphones.
Comfort: Light weight and soft earcups mean that these are ready for extended wear out of the box, though the velour-esque earcup material can become uncomfortable if you’re sweating a lot.

Pros:
Great for live recordings, classical music, and older small-group recordings. Reverb-heavy records sing as well.

Lightweight and comfortable.

Removable cable for easy swapping.

Very low impedance, easy to drive.

Cons:

Frequency response isn’t as wide as some would like.

Highs aren’t particularly bright. They’re present, clear, and not muffled by any stretch, but if that’s all you crave in your headphones, these aren’t for you.

The included cable isn’t very long, so if you want to plug them into a hifi setup that’s across the room, you’ll need a new cable.

Price:
Approximately $300/£239

Equipment Used:
Foobar 2000 Running on Windows 10 (3.5Ghz i5 quad core  processor, 32GB DDR3 1600 RAM)
Samsung Galaxy S4
Apple iPhone 7 Plus

FiiO E07K MkII

Peachtree Nova 150 2.0
Peachtree Nova 300 2.0

Matthew Sampson

Technical Stats:
Frequency Response : 20Hz – 35KHz
Sensitivity : 98dB
Impedance : 22 Ohms
Weight : 350g
Cable Length : 1.5 m
Plug : 3.5mm/6.35mm

The £4100 Lector 707 CD Player, here with the top level power supply, the PSU-7T, is made in Italy, has a valve output stage and a top loading transport. Dominic Marsh and Lionel Payne. put it through its paces.  

“Some say that the Compact Disc medium has had its finest day and streaming is where it’s now at. I beg to differ and still prefer the sound (and to me, the consistent reliability) of the silver disc. My fellow reviewer Dan has abandoned CDs entirely and relies solely on the likes of Tidal and such-like for his source material. While I envy the access he has to an immense library of music to call upon, it wasn’t pleasant watching the sheer angst on his face when only half of his total playlist was showing on screen and one channel kept dropping out of his system which was traced to a DAC connection apparently…”

Read the full review here

Ian Ringstead takes delivery of a pile of ready cut wood and puts together the £300 KJF Audio Frugel Horn Lite Speaker Kit. 

“A lot of the products I review come from talking to the manufacturers and designers when I attend shows. I really enjoy talking to people and there is nothing better than getting to know the person behind the product and trying out their creations.

That is how I came about this review and build of Stefan’s Frugel Horn Lite kit. I’ve always wanted to build a speaker but shied away from the hassle of making one from scratch, cutting my own panels and sourcing the parts. The answer to that issue could be this kit which does it all for you apart from assembly of course…”

Read the full review here

Dominic Marsh takes a listen to the Tannoy Revolution XT8F floorstanding loudspeakers costing £1499.

TANNOY.  Now there is a name many people will recognise and it’s one of the few names that are deeply embedded into the way people around the world would describe a loudspeaker system.  The name actually occupies the same lofty and unique territory in our everyday language as the name “Hoover” is used to describe vacuuming your home, as in “I’m going to Hoover the carpets”.  How many times have you read in a newspaper, book or magazine, or perhaps watched a TV program or film containing these words:  “An announcement was/will be made over the TANNOY system for all passengers to . . . . . . . “ and is still in regular use even today?   No surprise either that Tannoy are still manufacturing Public Address systems as well as a huge range of professional studio equipment.

I was curious about where the name was derived from and I found the answer on the Tannoy website under the history heading.  The name was formed from the metals they were using in the production of their rectifiers as in Tantalum / Lead Alloy and adopted as the formal company name in 1928.

It is truly refreshing to see that the name Tannoy is still 90 years later still at the forefront of loudspeaker design and that I have the honoured task of reviewing the Revolution XT8F loudspeaker.

CONSTRUCTION

The first thing that strikes you is the trapezoidal shape of the cabinet which you either warm to or you don’t.  Looking at them squarely face on means you don’t see the side walls at all anyway.  Unusually too, there is a factory fitted plinth that the speaker sits on which does two jobs no less.  Through the aperture between cabinet and plinth is the bass reflex port firing downwards and the plinth having a larger footprint than the cabinet, means it adds additional stability to the speaker as well as some additional mass. Three jobs then, for the keener eyed readers amongst you.  Nice to see real veneer on the cabinets, in this instance a pale honey Oak colour, with a choice of Dark Walnut as an alternate option.

The speakers are supplied with a dark colour fabric covered grille, attached to the cabinets by secreted magnets within the cabinet.

Driver complement consists of Tannoy’s “Dual Concentric” array, with a 200mm multi fibre bass cone and a centrally integrated 25mm PEI dome tweeter that Tannoy refer to as being mounted in a “Torus-Ogive waveguide”.  In other words the tweeter is set back into the driver array throat for phase and timing alignment.  To augment bass output there is another 200mm driver mounted below and in line with the Dual Concentric driver.

To the rear of the cabinet we find a set of four biwire terminals with gold plated jumper strips.

All in all then it is a sturdy well built package built upon a long line of Revolution models that have gone before, yet enhanced even further in this latest incarnation.

SOUND QUALITY

Fresh out of the box they are a pleasant enough listen, so please be patient and if you intend to audition a pair then ensure they have some running hours on them before making any judgements.  Thankfully they mellow very quickly and are listenable within an hour or so, so I recommend you connect them up, feed them some music to work with and let the XT8Fs iron their own wrinkles out for a while.   As with most speaker running in periods the XT8F speaker will follow an exponential curve whereby they quickly lose the raw edges and then gently and slowly mature to full potential, which in this instance was roughly 20 hours or so, which is pretty quick I say.

First into the CD drawer was Hugh Masekela’s “Hope” album and those of you who also own this album will know that it has a good spoonful of dynamics and subtleties to play with and it was obvious the XT8Fs carry the same DNA their smaller siblings the XT6 speakers are endowed with, although the larger drivers in the XT8F put right the bass power shortfall the smaller speakers were endowed with.

My first impression of the sound they produced was how weighty and dynamic they were, full of verve, sophistication and controlled energy. The kick drum in the opening track of “Hope” was conveyed that it was an actual kick drum being played, while the high hat strikes sounded very clean and metallic sounding.  It is the trumpet that defines this track and I have heard some raspy nastiness in some speakers but glad to say the XT8F speakers were not one of them, as the instrument sounded silky smooth and yet still full of vibrant energy and harmonics.  All of the music strands stood apart from each other with no clashing.  The immense benefit of housing the tweeter within the base cone centre in this Dual Concentric configuration is that you get a huge amount of pin sharp imaging focus from that point source.  Sit yourself spang in the middle of that sweet spot and you can positively BATHE in the imaging and sound staging these speakers produce.  Move a foot either way though and that magic becomes a bit ordinary in the way imaging is structured and that very trait means you are going to be firmly glued in that sweet spot for as long as you possibly can.  I know I was.

Next into the CD drawer was my old favourite in the shape of Fink’s “Wheels Beneath My Feet” album which has a whole raft of benchmarks that review components have to surmount.

The verve of these speakers was amply manifested in the way they could capture the very essence of cymbal strikes.  No fizz or tizz, just good clean rendition of wood striking metal with associated harmonics and ringing decay.  Once again that sweet spot revealed the venue ambience accuracy perfectly and musician placement supremely defined, plus you did get the feeling you were actually sat in the audience around two or three rows back from the stage, which was impressive.  Bass guitar and kick drum were well up my benchmark ratings and the Floor Tom strikes that the drummer really does drive down into in the track “Sort Of Revolution”, easily managing to shake my listening room.   Not only must there be heft and weight to it, it must also be very clean by portraying the skin and shell of the drum, with no boom or overhang artefacts and at this the XT8Fs excelled, so I could feel as well as hear those drum strikes.

Another favourite live album of mine is Peter Gabriel’s “Real World” album and this too has plenty of musical variety to keep you entertained across two full CDs, yet his studio albums do very little for me as they comes across as too sanitised, whereas this album abounds with free flowing musicality.  Manu Katché playing the drums is highly enjoyable in his own inimitable style, so little wonder that Sting also uses his unique drumming talents, so that same expertise underpins Peter Gabriel’s Real World album, even though the recording quality isn’t good enough to use as a reviewing tool like I use Fink’s live album.  Nevertheless it must entertain and engage with you and has some complex musical arrangements to unravel. On both counts the Tannoy XT8Fs easily fulfilled those criteria and then some.

A change of pace and genre too, in the shape of Loreena McKennitt and her “An Ancient Muse” album to see how the XT8F speakers portrayed female vocals.

I cannot begin to describe any of the instruments being played in the track “The Gates of Istanbul” but my attention was focussed purely on Loreena and her voice, which was beautifully airy and crisp, soaring sweetly and melodically as only her voice can, dead centre stage with the instruments wrapped around her in a shallow arc.  The drums in the track had the deep thump and impact which eluded the smaller XT6 speakers that my resident speakers also clearly demonstrate, again no criticism given from me here on this aspect of their performance.

Now this should please the classical music fans out there, because that glorious sweet spot really does unpick complex pieces with ease and orchestra placement is about as good as it gets, at least that is for my limited exposure to the genre.  They are equally at home playing Jazz and you can almost picture yourself seated in a darkened smoke filled room listening to some of the great Jazz classics.  The closest I can get to this is Dave Brubeck’s crisply played “Take Five” in my music collection and even so the drumming and piano playing is rich in dynamics, harmonics and timbres.

CONCLUSION

I expected the XT8Fs to be a scaled up version of the XT6 speakers I recently reviewed, but there are major differences even though they have the same basic design DNA running through them.  For a start, the bigger bass drivers not unnaturally produce a bigger bass output which was expected of course, but there is also a huge amount of control, effortless power and refinement, which in turn is most satisfying to listen to, with the treble and midband beautifully balanced with the bass and that makes this speaker very easy to live with long term.  The entire audible spectrum had a slight hint of warmth and sophistication that the smaller XT6 lacked and I suppose that cannot be a critique of either speaker because one is designed for a bookshelf, the other is a big box speaker for open space in a big room, so swap either speaker into the other’s environment and neither would be comfortable being there. I was however expecting progression in sound quality moving up the Tannoy hierarchy and the truth is I haven’t been disappointed.

I wouldn’t pair them into a budget system, because to get the best out of them you need the best put into them and you will be amply rewarded.  Pair them with lesser ancillaries and you might not be pleased, because the XT8Fs are very good at highlighting deficiencies as all good quality speakers do.

With nearly 90 years of Tannoy loudspeaker design expertise behind them, they are going to please many listeners for sure.

AT A GLANCE

BUILD QUALITY:  A cut above with real wood veneer finish, good quality terminations and above all, the superb Dual Concentric drivers.

SOUND QUALITY:  Locate yourself into that central sweet spot and it really does open windows into the music.  

VALUE FOR MONEY:  The sound quality and build more than balances the asking price.

PROS:  Sound and build quality.  The Tannoy badge.

CONS:  I’m struggling to find any, so I will conclude with the word “None”.

Price:  £1,499.00

Dominic Marsh

Ian Ringstead tries out the £3200 Ophidian Audio Prophet P2 Loudspeakers. 

“Readers of Hifi Pig will be aware that I am no stranger to Ophidian Audio loudspeakers having reviewed two previous models in the M series range, the Minimo and Mojo. Gareth James the designer and owner of Ophidian had expressed his desire to create a more upmarket range last year when we had met and earlier this year at the Bristol show he showed the fruits of his labours. The smaller P1, a stand mount model was demoed and showed great promise. Then at the North West Audio show in June I saw and heard the P2 on review here. They sounded great and Gareth promised me the first option to try them out…”

Read the full review here

Hailing from The USA the PS Audio Stellar Gain Cell DAC/Preamp & S300 Stereo Power Amplifier cost  $1699 and $1499 respectively. Here the all American duo are reviewed by David Blumenstein.

You can produce relatively affordable HiFi products. You can do so and be true to your roots. This is what Paul McGowan and the team at PS Audio endeavor to achieve. PS Audio came to the public’s attention with the introduction of its cigar box preamplifier for the princely sum of $59.95 just over 40 years ago, and as it and the industry evolved, so did the company’s product lines and prices in keeping with the growing market. The Stellar DAC/Preamp and S300 Stereo Power Amplifier present an opportunity for true value for money. The pair’s straightforward unassuming external design hide a beastly duo under the bonnet. The duo go for the minimalist look, as apart from the two glow-in-the-dark PS Audio logo emblazoned power switches, it is the lone menu display of the Gain Cell DAC which sheds any light into the room.

Out of the box, and with the vast array of gear in my listening habitat, I dug into my hacker bag of tricks and fashioned a makeshift system rack out of the black styrofoam packing/stabilizing material. Fitting and then stacking each of the units on top of each other proved to be rather effective, and when sharing such with PS Audio, I managed to instigate equal parts: intrigue and laughter. It took less than 15 minutes to extricate the gear from their respective boxes and get them set up in my test environment. PS Audio’s included documentation wastes neither precious time nor paper getting to the heart of the units, deftly explaining the components’ respective features, settings and options.

As alluded to earlier, prices have steadily been on the rise and if there is any future for the HiFi industry its designer, manufacturers, vendors must come out with relatively affordable gear. PS Audio’s  Stellar  Gain Cell DAC/Preamp retails for $1699.00, and S300 Stereo Power Amplifier for $1499.00, so let’s call it an even $3100.00 for the pair and for the purpose of this review I shall treat them as an intrinsic pair. You could shop for them separately, but I see their synergy making their whole definitely greater than the sum of its parts. My reference for this review is comprised of an exaSound e22 DAC, Parasound Halo 2.1 Stereo Integrated Amplifier, Bel Canto s300 i/u Integrated Amplifier, Audio Physic Tempo, Platinum Audio ST1 and Mission 727 speakers. Interconnects and speakers cables, a veritable hodgepodge of Audioquest, Cardas and Transparent Audio. Throughout my evaluation I was swapping out gear and cables regularly. My front end was/is a Mac Mini connected to 10TB of lossless music running Roon, VOX and Audirvana Plus.

Word to the wise. Over the years I have accumulated many, perhaps too many audio software applications and I should have learned from past experience, so here we go. If you are going to readily update and upgrade software, when whole new versions come out make it a point to to totally uninstall previous version, not just the application but all ancillary files too as they can cause much headache. I was faced with the issue of not being able to play DSD, DSDIFF, and SACD ISO files as DSD, and forced to configure the software to playback files solely as PCM, and not make use of DOP. This was unacceptable and after contacting PS Audio about this, I went through the process outlined above and was able to rectify this troubling issue. I could now play the files natively as intended.

Stellar Gain Cell DAC/Preamp

The Stellar Gain Cell DAC, a combination DSD DAC and an analog preamplifier, is made in the United States, and in this day and age shockingly affordable. For the money it’s a relative bargain, leveraging PS Audio’s NuWave DSD and a 32-bit ESS Sabre Hyperstream DAC. The Gain Cell, with its passive analog filtering accept inputs, both I²S and USB and can handle up to 2x DSD (128) and 24-bit/192 kHz PCM. With the requisite server software it can act as a music server, as signals enter natively WITHOUT sample-rate conversion, the Complex Programmable Logic Device (CPLD) utilizes proprietary Digital Lens technology to re-clock, reduce jitter, and diminish propagation delay. A choice of three digital filters allow for both flexibility and customization for present and future components. These filters are only effective for PCM digital audio. They are ineffective with respect to analog sources and DSD sources and selectable via the onscreen menu. With such filters there shall be compromises: the sharper the filter the greater the amount of ringing.

Filter One: Slow Roll-off Linear Phase -> Least sharp, least ringing. Some loss of high frequency detail. PS Audio has determined this to be the most musical sounding, thus it has been selected as the default filter.

Filter Two: Fast Roll-off Minimum Phase -> Better higher frequency response, more ringing without pre-ringing. Suggested filter for those preferring 44.1 kHz

Filter Three: Fast Roll-off Linear Phase -> Equally height frequency response. Less riding than #2, exhibits pre-ringing. According to PS Audio, in testing it was found to be the most analytical.

PS Audio’s digital filters each have their own particular sound profile and as much as PS Audio attempted to describe them adequately in their documentation, I would advise listening to each of them carefully prior to settling on one over the other, and just because you choose one, does not mean that you cannot change your mind at later listening sessions. It is not like you are limited to a finite number of selections, much like DVD region codes.

The Gain Cell’s analog preamplifier is where the DAC/Preamp combination shines, PS Audio has managed to streamline the design, by making use of its variable gain cell topology to  have the pre-amp’s amplifier take its cues directly from the front panel’s volume control. Eliminating steps and noise in the process lets you hear more of the music, your music, and no extraneous  sonic effects.  I connected a number of external phono stages and my reference DAC and they all benefited from the above. Of particular note was the combination of the Parasound Z-Phono USB phono stage, I was amazed by both the clarity and volume of sound. DACs have a come a long way in the four years I acquired my exaSound e22, at the price/performance point of the Stellar DAC/Preamp/Amplifier I could easily be satisfied.

PS Audio’s proprietary secret sauce: Digital Lens 

• Input signals native into Gain Cell DAC, no Sample Rate conversion fed directly into PS Audio’s CPLD (Complex Programmable Logic Device.
• CPLD determines sample rate/format, rechecks data, reduces jitter, shapes data, reduces propagation delay achieving great throughput
• I²S, a format specific to CD transports and several servers, is incorporated by PS Audio and sent via an HDMI cable. While this format separates the clock and data signal from the start which are multiplexed over S/PDIF and/or AES/EBU, the number of components taking advantage of I²S are limited, save for PS Audio’s very own DirectStream transport.

Stellar S300 Stereo Power Amplifier

The Stellar S300 Stereo Power Amplifier is a sleek, unassuming dual-mono power amplifier which punches far above its weight. Full size it may be, but it is not physically overpowering. I found myself having to keep looking back at the unit to make sure it was there. Darren Myers should be congratulated for delivering 140 Wpc into 8 ohms and 300 Wpc into 4 ohms – not a misprint –  making the most of ultra-linear, high current Class D for the output stage and discrete Class A MOSFET Analog Cell for the accompanying input stage. The sound is spacious, full and seemingly effortless, and what I would have expected from a  more costly tube/valve amplifier.  The richness of detail and fluidity made my entire listening/evaluation experience in a word: non-fatiguing.

Assigning separate power supplies to each of the two channels makes for a clean sound: low distortion, high efficiency, precise linearity and a whole lotta power for the money.

Living with the Stellar DAC/Pre-Amp/Power Amplifier

I’ve been writing, commenting and venting about the future of the HiFi industry to anyone who will listen. There exists this chasm which has now been 30+ years in the making. The ever increasing prices of gear and equipment has put HiFi out of reach of the mainstream. At some point something had to give, manufacturers had to wake up and do something hitherto unheard of, and that’s build HiFi grade separate components, two of them, in the United States at a price which would normally be reserved for one component.

The Stellar DAC/Pre-Amp/Power Amplifier filled my listening room with 3D sound, and they matched well with each of my speakers; the floor standing Audio Physic Tempos, the stand mounted Platinum Audio ST 1’s and the low-to-the ground Mission 727s. I was surprised how different they made each sound and I spent a great deal of time swapping out my Parasound Halo 2.1 integrated amplifier, Bel Canto s300 integrated amplifier to make sure I wasn’t fooling myself. And, yes, I was hearing something new and more evocative from my usual suspects.

I am quite familiar with my California Audio Labs Icon MkII CD/Audio Note DAC 1.0 front end combo, so I was eager to see just how it would sound with the Stellar DAC/Pre-Amp stepping in. I should not have been concerned, and that pains because there’s a lot of positive memories stored up in that Audio Note, but it’s high time I become both realistic and pragmatic about the amount of gear I own and the space it takes up. This PS Audio combination, if it were indeed to stay, could free up so much room without sacrificing sonic quality and that’s what a good deal of this all about.  I remain amazed by what has been made possible, and just how any piece of music I threw at the gear was made all the more musical.

An interesting feature of the amplifier is its Output Disable Mode, in which it is advised to keep the rear panel power switch on at all time, and to activate it by pressing the PS Audio logo button on its front panel so it is lit Conversely when it is not lit the amplifier is in Output Disable Mode, somewhat like the familiar hibernation mode. For those prone to not hovering over their systems, being able to activate the system remotely is a most welcome added functionality.

In answer to the question, could I have my cake and eat it too? Yes, I could see the PS Audio Stellar Gain Cell DAC/Pre-Amp, S300 Stereo Power Amplifier make more than an appearance in my home. They would be warmly invited to stay, allowing me to make my apartment more about me and less about the gear, hence more room for friends, guests and neighbors who like the sounds coming from down the hall. I was seriously considering upgrading my Audio Physic speakers until the PS Audio gear arrived, grew on me and really opened up after the recommended burn-in period and now I’m not so sure. It may eventually happen, but not at the pace once contemplated.

As a reviewer I get to live with gear for a prolonged period of time and really get to know the gear and not only assess its benefits and conversely its shortcomings, but also make legitimate comparisons between what was, what is and what could be from and in the comfort of my very own listening environment.

CONCLUSION 

PS AUDIO may have indeed cracked a new genre in HiFi quality relatively affordable separates which do not skimp on quality and maintain a high level and degree of musicality. The components live up to their Stellar name and do so without being flashy… appropriate restraint. Once powered on, they all but physically disappear allowing the music to take center stage.

Recordings upon which this review and conclusions based:

• Pure Michael: Motown A Cappella
• Smoke & Mirrors: Percussion Ensemble
• Talk Talk: The Colour of Spring
• Elgar Cello Concerto Op. 85: Jacqueline DuPre (JVC xrcd24)
• Sheffield Lab Drum & Track Disc: Jim Keltner & Ron Tutt (JVC xrcd24)
• Charlie Watts Jim Keltner Project
• Corduroy: London, England
• Midori Takada: Through The Looking Glass
• Morton Subotnick: The Wild Bull
• The Brand New Heavies: Trunk Funk
• Daniil Trifonov: The Carnegie Recital
• Sigiswald Kujiken: J.S Bach Cello Suites (shoulder cello)

Andris Nelson – BSO: Under Stalin’s Shadow, Shostakovich Symphony #10

AT A GLANCE

Bulid Quality: Much in keeping in with PS Audio’s tradition of making hard wearing gear both the Amplifier and DAC are built like the proverbial “brickhouse” made to last. This pair at not going to win any beauty contests, yet they maintain a rather understated elegance.

Pros:  The musicality, the price, the value for money unheard of today and hopefully a sign of more to come. Punches way above its weight and can hold its head high. No shame there.

Cons: Hard to fault this combination as it does as advertised and surpasses expectations. From a pricing perspective, I could see selling the pair as matched set for $2999 and really blow the roof off the category: Affordable Separates. Quibble: the DAC support 128 and not 256.

Price*: DAC/PRE $1699; S300 Amplifier $1499

*As at 31/10/2017 PS AUDIO has announced a bundle price drop in the Stellar AMP/DAC combo. The pair can now be purchased for $2799.

David Blumenstein

Stellar Gain Cell DAC/Preamp Specifications

Analog inputs:

RCA: 3 stereo pair

XLR: 1 stereo pair

Digtial inputs:

I2S: 1 PCM (384KHz max), DSD64 DSD128

Coax: 2 PCM (192KHz max)

Optical: 1 PCM (96KHz max)

USB: PCM (384KHz max), DSD64 (DoP) DSD128 (DoP)

Format: PCM, DSD

Analog outputs:

RCA: (Analog Unbalanced) 1 stereo pair

XLR: (Analog Balanced) 1 stereo pair

Headphones: One 1/4″ headphone connector front panel

Gain: 12dB +/-0.5dB

Maximum output: 20 Arms

Sensitivity: 5.3Vrms

Input Impedance:

47KΩ single ended RCA

100KΩ Balanced XLR

Output Impedance:

100Ω single ended RCA

200Ω balanced XLR

Frequency Response:

20Hz – 20KHz +0/- 0.25dB

10Hz – 100KHz +0.1/-3.0dB

Noise: 20-20KHz <-90dBV

S/N Ratio: 1KHz >110dB (max output)

Channel separation: 1KHz >90dB

Input separation: 1KHz >90dB

THD&IM:

1KHz < 0.025%

20-20KHz < 0.05%

Headphones

Output power @1% THD:

300Ω 300mW

16Ω 3.25W

S/N Ratio 1kHz: >95dB (max output)

Noise: <-80dBV

THD & IM 1Vrms out:

300Ω <0.05%

16Ω <0.06%

Output impedance: <4 Ω

Volume Control: 0-100 (1/2 and 1dB steps, 80dB total range)

Balance Control: 24dB each direction in 1/2dB steps

Home Theater Mode: Assignable to any analog input

Adjustable (in setup) to any level

Polarity (phase) Control: Digital sources only

Filter Control: 3 selectable digital filters (PCM digital sources only)

Trigger output: (3.5mm 5-15VDC) 2

Remote Control: Yes. Infra Red

Input Power: Model specific 100VAC, 120VAC, or 230VAC 50 or 60Hz

Power Consumption: 20W

Weight: 13.5 lbs.

Dimensions: 17″ x 3″ x 12″

Stellar S300 Stereo Power Amplifier Specifications

Audio Inputs:

RCA (Unbalanced)

XLR (Balanced)

Speaker Outputs: Copper base nickel plated binding posts

Other:

DC Trigger Input

3.5mm 5-15VDC

Output Power (Both channels driven 120vac mains, 1kHz, 1% THD):

8Ω: 135W minimum

4Ω: 300W minimum

2Ω: Stable for musical transients

Gain: 30.5dB +/-0.5dB

Sensitivity for rated output power: 1.01V

Noise: 1kHz@300 Watts <-100dB

Input impedance:

Unbalanced 50KΩ

Balanced 100KΩ

Output Impedance: 50Hz, 2.8VRMS <0.007Ω

Damping factor 50Hz. 2.8VRMS:

8Ω >1100

4Ω >550

Frequency Response @2.8VRMS:

10Hz – 20KHz +/- 0.5dB

10Hz – 50KHz +0.1/-3.0dB

THD&IM:

1KHz, 1W/4Ω: <0.02%

10-20KHz, 1W/4Ω: <0.02%

10-50KHz, 1W/4Ω: < 0.05% (90kHz BW)

1KHz, 37.5W/4Ω: < 0.01%

Weight: 13 lbs.

Dimensions: 17″ x 3″ x 12″

Warranty: 3 years parts and labor

Based in Wales Leema has a great reputation for designing and building electronics to suit all pockets. Dominic Marsh takes a listen to their Tuscana II Integrated amplifier costing  £3,995.

I recall having evaluated some Leema products before for Hifi Pig, namely their Elements integrated amplifier and Libra DAC.  I gave them both a “Recommended” award as I remember, because although they performed very well during the evaluation, they never managed to hit me personally on the emotional level and I struggled to make that connection with them, because they didn’t have that elusive X Factor that would have had me enchanted and utterly enthralled.  Maybe it is the ex-BBC origins of the company founders that was responsible for the design brief to be that way, maybe yes and maybe no and life is too short to hang on to imponderables such as that.

That situation was about to change when I was sent their Mark 2 variant of their Tucana integrated amplifier and my perception of the marque was to be changed instantly.

Construction

Like all other Leema electronics, the Tucana II is built like the proverbial out-house and there is nothing at all flimsy or cheap in its build quality.   Ergonomically too it is an absolute peach to operate, with all controls and indicators working flawlessly and reliably too for good measure. I particularly loved the volume control with its circle of LEDs to indicate the exact setting.  Not the approximate setting mind, but the EXACT setting, which I will explain in due course, but I will say it is just about the best I have found on a modern amplifier with a digital volume control.

Outwardly, the new Tucana II amplifier looks no different to its predecessor, with the same machined alloy front panel, the large rotary volume and source selector knobs, plus various LEDs to show function selection and volume settings.   However, Leema say the Mark 2 has had circuit changes and higher specification components fitted to improve sound quality.

Taking a tour around the physical aspects then, to the left of the volume control we find two 3.5mm sockets for headphones connection and MP3 signal input, then to the right of the volume control we find the infra red remote control window, then to the centre of the front panel we find a series of four illuminated push switches labelled “GAIN”, “BAL”, “MUTE” and “TAPE”.  To the right we have a set of seven illuminated push buttons for source selection, labelled “BALANCED”, “CD”, “TUNER”, “AUX”, “MULTI 1”, “MULTI 2 / MP3“ and “AV DIRECT”.  Finally, we find the mains power/standby button which has a blue LED which illuminates in standby mode, which thankfully isn’t too bright in ambient light although it throws quite a pencil beam across the room as I discovered one night when I went into my darkened listening room for a pair of glasses and didn’t switch any lights on.

To the rear we find reading from left to right, a pair of loudspeaker binding posts for the right hand speaker, then two LIPS sockets which connects to other Leema products with the same connections for system control, then a mains IEC inlet socket, then a pair of balanced XLR input sockets, then below these connections we find a row of single ended RCA sockets labelled “TAPE” (input and output), “AV”, “MULTI 2” and “MULTI 1”, “AUX”, “TUNER””CD” and “PRE OUT”.  Finally there is another pair of loudspeaker binding posts for the left hand speaker.

I found the external appearance very refreshing in not being the same boring rectangular box with knobs on, as it was running outwith of the herd and instantly recognizable as a genuine Leema product.

Sound Quality

Press the standby button on the front panel and the amplifier begins its powering up routine.  The LEDs surrounding the volume control flashes several times and the volume resets to a low level.

With a specification reading of delivering 150 watts per channel in to 8 ohms and 290 watts into 4 ohms it would suggest a powerful amplifier and so it proved to be during the listening sessions with various speakers that partnered with the Tucana II.   In one word I would describe it as “muscular”, but not in a brutish way at all and you could liken that level of power with a champion bodybuilder, in that you wouldn’t start a fight with him as you know you would lose before you began and him knowing his own strength so he doesn’t have to prove it to anyone, least of all you.  Just measure his biceps and be very nice to the man.

That solid power of course manifests itself in bass output, whereby a drum sounds like a drum at close range, losing none of the heft and power that’s there.  My resident power amp at the time (since changed and not because of the Leema may I add) was rated at 140 watts per channel, but it easily lost to the Leema unit in the way the power was delivered, with a firm depth of solidity that was lacking in my own amplifier.  Both amps could deliver the “punch in the guts” power from a kick drum beat, but the Leema took that one stage further by allowing you to hear what the drum skin and shell was doing, plus whether a hard or soft beater was being used.

With the arrival of a pair of Audiovector SR3 Avantgardes for review at the same time, this was a pairing that just HAD to happen.  I had a brief hearing of these speakers at the 2017 Bristol Hifi Show being driven by a compact Exposure system.  During this particular visit to the show I had lurking in my prized Hifi Pig pink shoulder bag some of my own CDs in the hope some exhibitors could tear themselves away from their library of specially selected plinky plonk music and give my offerings a whirl.    Of course, I had in my bag Fink’s “Wheels Beneath My Feet” album which I was itching to be played and the results I heard at Bristol were nothing like what I was used to at home with the exception of one room, the Exposure room using the Audiovectors.  That began my quest to review a pair of these speakers and happy to say Audiovector were more than happy to oblige, so look out for the full review of these speakers soon in Hifi Pig Magazine.

The Leema Tucana II amplifier and the Audiovector SR3s were a very sweet listen indeed.  Notice I use the word “sweet” here and they were a joy to listen to.  Smooth flowing, very powerful and yet highly controlled, bass in particular was a solid as a brick wall, completely unshakeable in fact.  I never once found the sound lacklustre or laid back either let me add, this pair didn’t fatigue either and I could listen for many hours and be completely absorbed by the sound. The very top end treble didn’t have the clarity and dynamics for my own personal listening preferences, but I do know many of our readers intensely dislike sharp defined treble registers, so if you belong to this group of people, then be heartened in the knowledge this pairing would please you tremendously.  As an add-on to this although not entirely relevant to this review, I then bought a Lyngdorf power amp with 200 watts on tap and the bass sounded decidedly off with the Audiovector Avantgarde SR3s.  This hifi caper has it’s inexplicable quirks at times.

Another pair of speakers in for review was a pair of hORNS Aria 1 speakers, so it would be rude not to harness them to the Leema amplifier as well while they were here.  In my resident system, the hORNS had a rather subdued bass offering, with sublime treble and midrange which more than compensated for that.  Paired to the Leema amplifier though, the bass registers certainly perked up a fair bit, producing a better balanced sound from top to bottom ends of the spectrum. Synergy at play here methinks and I would say that the bass softness of the Arias were better matched to the strong power delivery traits of the Leema amplifier.

I also have a pair of Roksan TR5 speakers here and they too were connected to the Leema amplifier.  I was amazed that out of the 4 pairs of speakers connected to the Leema, these were the best balanced out of the 4.  Neither bass nor treble dominated proceedings and they managed to walk that fine line between exciting and dynamic and overblown and overpowering.  This meant you could enjoy an extended listening session without becoming jaded or fatigued.

Then we move on to my current resident speakers, the Pylon Diamond Monitors I reviewed earlier this year for Hifi Pig and had to have after hearing them in action.  These speakers deserve the epithet “Monitors” and really do live up to their name.  They are fast, dynamic, insightful and tuneful, with a bass output that you wouldn’t expect from a box of their relatively small size and they easily ousted my then floor standing speakers with ease.  The best thing about these speakers is they are a great reviewing tool as well, because what you feed into them is very clearly heard, warts and all.  When plumbed up to the Leema Tucana II amplifier, the character of the Leema changed completely.  What perked up the hORNS speakers and was “sweet” with the Audiovector SR3 Avantgardes was no more, instead I got a lively and punchy amplifier with a tremendous amount of accuracy and refinement in the midband and treble region.  I love these speakers because of their in your face bite your shins kind of presentation and they pull no punches which I personally adore, but may not be to other’s tastes.  As with the hORNS Aria 1 speakers the Leema amplifier addressed and married well with the speakers, whereas with the Pylon speakers it was the other way around in my perception with the Leema Tucana II, is a prime case of ripping of the sheep’s clothing and finding the wolf hiding underneath.  Top stuff.

Ah yes, I did mention earlier in the review about the design and ergonomics of this amplifier didn’t I?  I must commend Leema on the way the amplifier is put together and in particular the controls and functions.  The digital volume control is an absolute peach in operation, perfect in linearity, perfect in accurate setting both by the front panel rotary control and the remote handset, perfect in the way it lets you the owner know exactly what the setting is by the LEDs surrounding the volume control.  Well done Leema and you have set a new benchmark test by which others are going to be judged by me in future.  As well as rear panel power switches that bug me, I hate with a passion any volume control that needs the skilled hands of an open heart surgeon to get an accurate volume setting.

Conclusion

With such a mixed bag of results to deal with, it would be easy to jump to the wrong conclusions and steering well away from that situation is what I enjoyed most about reviewing the Leema Tucana II amplifier.  Paired with different speakers the sound was indeed “different” but not in a negative way of course just – different, which when it finds the right buyer with the right partnering equipment it should be a match made in heaven.  The common thread throughout the review no matter what speakers were partnered with the Tucana II was how powerful and how enjoyable it is to listen to and this particular breed of amplifier is fairly rare.

If you have owned an amplifier with a non-linear hair trigger volume control, clunky noisy switches, dull rectangular flimsy casework and clunky noisy switches, then you will be highly appreciative as I was that at least one company can get it right.  In actual fact if I ever wanted to forsake my pre and power amplifier pair and revert to an integrated amplifier, then the Leema Tucana II would in all likelihood be a strong favourite because of it’s very fine sonic abilities and awesome build quality.  However, I would not make that decision until I have heard it with the speakers it is going to be living with and that extends out to whoever is also about to make that choice.

I give it a highly, highly, highly recommended nomination, as I think it justly deserves it.

AT A GLANCE

Build Quality:  In the price band the Tucana II occupies, it is class leading by a country mile.

Sound Quality:  With the right speakers it can dance and sing.

Value For Money:  I can easily see this as a long term keeper amplifier, so will save money during it’s lifetime  by not “upgrading”.  The build is worth every penny on it’s own.

Pros:  Superb build and sonic attributes make this a must audition product.

Cons:  “Fussy” isn’t the right word in the context of speaker pairing.  Responsive to different speakers, so matching must be taken into account before purchase.

Price: £3,995

Dominic Marsh

SPECIFICATIONS:

Output Power: 150W rms 8 Ohms/Ch

Output Power: 290W rms 4 Ohms/Ch

Output Power: 320W rms 2 Ohms/Ch

THD: 0.004%

Noise: < -100 dB

Freqency Response: 5 Hz – 100 kHz (+0/-3 dB)

Number of balanced Inputs (XLR): 1

Number of un-balanced Inputs (RCA): 6

Tape Input: 1

Tape Output: 1

MP3 Inputs: 1

Headphone Outputs: 1

Pre-out Outputs: 1

Channel gain adjust for each individual input

Mute Buton: Yes

Balance Adjust: (left/Right)

Thermal Protection: Yes

LIPS® system: Master or Slave

LIPS® system: Master or Slave

Dimensions: 440*320*110mm

Carton: 590*450*210mm

Mass: 18Kg

Dominic Marsh takes a listen to two somewhat unusually designed loudspeakers from UK manufacturer RMB. The larger floorstanding 22/3 model costs £1850 a pair and the smaller 12/3 standmount costing £1200. 

“Not just one but two loudspeaker models from RMB Loudspeakers landed at Dominic towers, delivered in person no less by Richard Best (Mr RMB) himself. That was one heck of a long drive in one day down to me in Cornwall from West Yorkshire and back again. Have to admire the man’s stamina…”

Read the full review here

Sbooster Best of Two Worlds Power & Precision ECO (BOTW) Power Supplies cost £300 each and are replacements for the all too common wall-warts that seem to be de rigeur with many audio products. Dan Worth feels the power.

Sbooster are not new in understanding how important  power supplies are in any good audio setup. The “Best Of Two Worlds Power and Precision ECO Power Supply” is more than a mouthful to utter and yes it is one product, so I will be referring to the unit as BOTW. The BOTW supply is the successor to the companies previous supply which was based around a high quality switching supply that was smoothed incredibly well giving a notable improvement overall ripple to standard switching supplies – I’ve used a couple over the years, still favouring good linear supplies.

Sbooster themselves champion their new BOTW supplies as a fine balance between power, precision and efficiency. At the supply’s inlet their is a dual-stage line filter and earth choke, which eliminates any high frequency pollutants from entering the audio-grade transformer, which is precision wound and heavily shielded.

The design of a BOTW PSU is quite unique, Sbooster are able to obtain 50% more power from the electronics than conventional designs, with a remarkable ability to run up to 35% more efficient at the same time – with Sbooster stating “The BOTW Power Supply will only cost a few more euros a year to run than standard switching supplies supplied with electronics.”

Towards the end of the DC output cable Sbooster employs their ‘split current system’. “The electronic design and components used in this Sbooster version differ from the design of the Sbooster Single Unit addon upgrade. The power supply of the BOTW P&P ECO audio upgrade provides the split current system with powerful and clean power, so the electronics can do their job profoundly well, which is to buffer the power so that the power supply becomes very fast and able to filter one last time the voltage and current before they enter the attached audio device.”

The supplies themselves are in ABS enclosures making them safe from electrical fault shock and have a pleasant, weighty and chunky design concealing excellent component choices. The DC output lead, although fixed and not user replaceable has a female two pin adapter, capable of attaching a whole range of various plugs included in the package. It’s very simple to install each connector due to there pin sizes which ensures installation is at the correct polarity.

This review will comprise of three of Sbooster’s Best Of Two Worlds power supplies. The items powered by each of these supplies will be the Aurelic Aries Mini, the Audiobyte Hydra Z clock and a Mytek Brooklyn DAC.

Aurelic Aries Mini 

The Mini reviewed by me earlier this year is a significant step up in performance for the price range it adorns. It’s a highly musical and flexible piece of equipment with a great range of features. I asked Aurelic at the time of the review to send me one of their own upgraded linear power supplies so that I could hear the Mini at a greater potential, unfortunately at the time there were none available so I completed the task without. After Sbooster contacted me to take a look at the BOTW supplies, I instantly requested one for the Aries Mini as it was a prime opportunity to assess its performance with a good solid and clean supply from a company I respected. Wanting a 15v DC supply the Mini wasn’t something I was able to add out of my existing inventory due to its less than common rating.

Adding the BOTW supply gave me exactly what I imagined it would. Speedier dynamics and rhythms which made Nils Lofgren’s incredible guitar solos come to life, greater precision on leading edges and a darker a background exposed finer details and dynamics really rather effortlessly. I enjoyed the cleaner complexion of his vocal also which along with the intricate guitar work gained more texture and dexterity.

If I was to create a minimalistic system for an office for instance, the Aries Mini along with a set of KRK actives and the BOTW would be an intoxicatingly addictive bouncy and musical listen. If your a listener of Pop, Dance or Rock you will love what the BOTW supply does to enhance musicality with the Mini, bringing out more detail and smoothing the resolution extremes. A bit of Nirvana at high volumes and then some old skool Ferry Corsten completed today’s listening tests with the Aurelic. The combination of the two forces you to listen to music and forget the electronics entirely.

Audiobyte Hydra Z 

My SPDIF converter of choice for many years now have been from Audiobytes (parent company Rokna), they again retain great musicality and smooth digital signals to where they become a more fluid event. Along with the Hydra Z I have a choice of power supplies already – the Audiobyte ZPM which works on capacitor bank stored energy, a Paul Hynes SR5 and SR7 Dual Regulated linears. I do change from time to time and the different supplies have slightly differing effects on the sound. The ZPM doesn’t produce such a  highly resolute sound as either of the Hynes, yet is very even handed and is a big step up over the USB powered converter. Each of the Hynes then differ in information retrieval with the SR7 DR dominating on detail retrieval and background silence.

The BOTW from Sbooster actually had a nice mixture of the three. There is a definite even-handedness with the Hydra Z and again it has great speed, leading edges and dynamics, which although not as natural sounding as the Hynes, are a huge improvement over standard installation. The background was also very quiet and the sensitive nature of the FPGA circuit inside the Z seemed to express great control, realism and enthusiasm to the sound with the more modestly price Sbooster connected, allowing for some incredibly controlled female vocals and good strong bass lines, which gained my attention. 

Mytek Brooklyn 

Now this is where things will become a little more serious The Brooklyn is probably the best value for money DAC around and is the heart of one of my active systems. I’ve again been using this DAC most often with a Dual Regulated Hynes supply as it really does deserves the best I can give it. However since moving the DAC into another active system and leaving the Sbooster to run in I have found myself completely enjoying the performance.

The Sbooster isn’t as resolute as the leading Hynes Supply, yet again has qualities of speed that only a design such as it can master. My findings are a little strange to the hardcore Hifi enthusiast but for those of you out there who try to balance an increase in all round performance with the struggle of retaining musical dexterity and cost effectiveness I’ll explain…

All too often when auditioning equipment the initial wow factor of a product is its selling point. A customer can purchase and take home a piece of equipment hoping it to perform for them as it did in the demo room, only to be dissatisfied after extensive listening, finding either fatigue or balance to be uncomfortable. When I first installed the BOTW on the Brooklyn I noticed a perceivable drop in resolution over the DR Hynes but what I lost in plinky plonky details I was hugged with by music in a really endearing way.

The settle in period was shortish with the Sbooster, gaining more detail over the space of a week where it stabilised and established itself, kicking out tune after tune delightfully. I reconnected the IEC cable that goes direct into the Mytek’s on board PSU after this time and the extra distortion and grain throughout the treble and midrange proved immediately how profound an improvement the BOTW was. Connecting the BOTW again gave instantaneously more tuneful expression to the bass and vocals again popped out of the soundstage and stood prouder in a much blacker background.

There’s really not much to dislike about the Mytek, it’s a stunning piece of kit. The Sbooster power supply had seriously done it justice and coincidently it was around this time that the Sbooster guys contacted me to mention that I should be switching the supply if being used with the Brooklyn to the 13v setting rather than the 12v, simply because it sounds better still.

So like a car audio system, if anyone has gone as far as building one with several amps, multiple batteries and a larger alternator you would most likely have replaced the main battery with a 14v one, which I’m sure you also have heard the benefits of. Now increasing the voltage of any power supply is not a given, small increases are usually acceptable by the internal components of the attached equipment and in this case with Sbooster and Mytek being close and friendly any component concern was put aside with a total reassurance to me. The additional volt or so was switched in and yes there was a perceivable difference, if not a huge one – a slight increase in detail retrieval and a better upper-mid range control gave a stronger overall presentation especially its strong female vocalists and busier music.

Whether on a 12v or 13v setting the soundstage produced with the Brooklyn was spacious and quiet, with smaller harmonic details more prominent than using the onboard supply. I listened to a few tracks from the artist Bliss and the soundstage could clearly be more defined with an overall better flow to the larger pictured details in front and around my listening position. 

The Full Monty

With all three of the devices mentioned in this review being capable of working together my next task was to build the front end of my main system around the three items and the three associated Sbooster BOTW P&P ECO supplies.

The Aries was fed into the Hydra Z on USB and the Hydra feeding the Mytek on AES/EBU. I actually haven’t used this exact combination previously so I ran the system using the wall wart that comes with the Aries Mini, the USB power bus of the Hydra Z and the onboard switching supply of the Mytek DAC.

This solution alone is a great little setup and brings the musicality of the Mini combined with the re-clocked information of the Hydra into the Mytek for analogue conversion to the preamp in a wonderfully synergistic manner and made the Aries Mini flourish. However with all three BOTW supplies installed a more audiophile, mature and accomplished sound was reached.

Dynamics certainly came into their own with vocals gaining a much more appreciable range, giving the likes of some of my favourite female artists real character along with being able to convey small dynamics in their vocal ranges and minor breathes and inflections reminiscent of more expensive stand alone front ends.

The system, had great speed in the bass with an overall larger, more detailed and tightly extended lower region with a well balanced and wider more airier top end. Midrange displayed great timbre and the overall tonality was relaxed and natural with energetic transients and great separation – significantly more than the standard supplies.

Conclusion 

It’s never the easiest of reviews to produce when writing about aftermarket power supplies. If a friend asked me how I found the Sbooster BOTW power supplies I’d simply say they just give you more of everything and excel in speed and background silence, which ultimately allows you to hear more.

However, I have a job to do here and my job requires a certain level of thoroughness. That’s why I decided to give small reviews on the effectiveness of their power supplies on a few different items I own. There’s absolutely no doubt how effective over standard supplied power supplies the Sboosters are, but to their credit were not totally out shone by the Paul Hynes supplies, which if you are fortunate enough to own, would probably conclude that there really isn’t anything out there to better them in the common market.

For €300 I feel the supply is terrific value for money. Especially when connected to expensive equipment that warrants a boost in performance; the Sbooster P&P ECO BOTW offers significant value for money and I will certainly be using a couple of these across my systems in the future.

I’ve encountered many pieces of equipment in my time that have had their internal power supplies upgraded and put forward as a new model and sold for several thousands more. Here we have a relatively cheap option that can be retained by the user when changing equipment and which can be used again and again with other equipment of the same input voltage. Most equipment has a standard of 5v or 12v inputs for external power supplies making the BOTW something that can migrate with your systems changes and growth.

I would have definitely liked to see a detachable DC lead so I could add my own with fixed ends but the flexibility of the BOTW’s construction makes absolute sense. A better aftermarket power cable did also help to improve performance but I’m sure if you relate to the notion that power is incredibly important I don’t need to tell you that.

All in all I’d highly recommend the BOTW P&P ECO BOTW Power Supply, its a sure way to obtain increased performance from any product with a less than bespoke off-board PSU.

AT A GLANCE

Build Quality: Not the prettiest, I’d prefer all wires to be on ones side, sturdy and electrically safe none-the-less

Sound Quality: Fantastically noticeable increase in resolution, bass density and back silence

Value For Money: Absolute no brainier

Pros:

Excellent flexibility it’s a range of output plug sizes

Large range of 11 output voltages

Very noticeable upgrade over stock power supplies

Great musical and audiophile qualities

Great value for money

Cons:

Realistically none, but I’d like a detachable DC Cable

Price:  €300

Triple M Icon Smart TVC Preamplifier is handmade in the North of England and has a lot of features for a £1499 preamplifier. Janine Elliot takes a listen. 

I love TVC (Transformer Volume Control) passive preamplifiers; a transparent sound with no worry about a resistor based volume control affecting the music at different sound levels (particularly at lower volume). A conventional preamplifier will have an electronic circuit which will add noise (hiss) and depends very much on your power supply being good. Conventional resistive loaded preamps can cause impedance mismatching between source and power amplifier, but with a TVC/AVC design the input impedance matches the output impedance. My own reference TVC preamp has been my Baby Reference by Music First Audio for a while now. The idea of passive preamplifiers has been around since the Western Electric’s 5-position inductive auto transformer used on their Type 7A-Amplifier in 1921, and reappeared notably just before the start of the 21^st Century when the higher output level from CD players meant that enough volume would actually get to the power amplifier without the need for a step-up pre-amplifier.  Similarly, the idea of a volume control being a series of rotary switches has also been around for many, many years. The BBC type A and B mixing desk from the 1940’s that I used at the World Service in the 1980’s had the main monitoring volume control as a series of resistors, one on each “position” on the volume control, though the mechanics meant that switching up and down often meant for noise clicks and worrying silences.  Even today’s passive TVC’s can result in breaks in sound between positions or worse, crackles and an audible stepped change in sound level as it is turned. Conventional passive volume controls can also limit you to 20-31 different level settings, which can mean many work at greater than 2dB changes at the lower end of the scale and with perhaps only those at the top at 1dB (the point at which discrete changes in sound level aren’t so easy to detect). This would mean getting the exact level you need for comfortable listening might not be so exact. What makes the icOn from Triple M Audio different is the use of micro reed relays. By using reed switches to change volume settings there are many more incremental changes in sound levels, a total of 45 of which 39 are at 1dB, which means volume adjustment will be smoother, and importantly allows it all to be operable by a remote control. The volume control on the front is no longer a physical heavy switching unit, rather an infinite and smooth device, and can now be used for other purposes as well, including as a balance control, which might be useful.  As level switching is carried out using high quality industrial grade and hermetically sealed reed relays the possibility of those contact errors on conventional open rotary switches is eliminated, though as I point out later, there are still noises turning level up and down, as reed relays still take a very short time to “switch” on/off.  In the past being passive has meant that apart from choices if inputs and outputs there is little else you can do other than select and listen. What the icOn Pre provides is a lot more facilities at a very favourable price. Whilst the audio stage is passive, electrical circuits control the operational and selection features as well as the screen, via an external 5v generic power adaptor, working an inbuilt Arduino computer.

This new British product is manufactured in Manchester by the Hungarian born Pal Nagy who likes to describe himself as a 27 years old humble electrical engineer with 57 years’ experience in his backpack. He certainly has lots of youthful energy creating something totally unique and with many other really exciting ideas in his backpack which, no doubt, we will be experiencing soon.  He started his engineering life in Hungary in the 80s, developing high-tech professional measuring equipment such as FFT analysers and DSP based military gear. After ten years he left his engineering job for different management positions in the IT industry, then turned to a new world of natural therapies, meditation, mind techniques and established a small company selling online health and wellness related products. 4 years ago he and his wife moved to UK from where his ventures in audio began, starting up Triple M in 2016 with his mentor and friend Gary Gardner.

This black finished aluminium preamplifier permits operations and functions to be controlled either from the front knob or via the supplied Apple remote control. This includes selecting of sources (including a tape loop should you need that) and being able to adjust levels between them. There is nothing worse than changes in level between sources when you switch from one to another. These differences could be as much as 20 dB (assuming 200 mV for a tuner or phono and 2000 mV for a CD player or DAC). Pal likes to suggest this smart function will protect the owner’s ears as well as the precious loudspeaker drivers.  All level changes are done passively, so no worries about noisy electrical circuits.  Other comfort features include programmable maximum volume, the step size and the starting volume. A 4cm x 5.6cm TFT screen (which can be programmed to be visible in a choice of different colours – I chose green) means you can see exactly what you are doing from the comfort of your armchair, all operated via an Arduino based amplifier system and an Apple remote control. The Triple M icOn is available in two versions; the Quartet (4 unbalanced inputs) and Octet (two balanced and 6 unbalanced inputs and balanced/unbalanced output), at their introductory prices of £1499 and £1999 respectively. The single knob on the front panel can be used to change level or balance, and via a Morse-code type function, by pressing in rapid or long succession to get to varying functions on the machine. For example “. . .” will turn on or off the tape monitor and “. _” will turn on sleep function. Even the screen can be turned to night mode (not so bright) by communicating “. . _” . A photo sensor will adjust the brightness dependent on ambient light levels.  Pressing for 3 seconds at start-up will enter the set up mode to change levels of sources etc.

Features on this new product make my own prized TVC preamplifier quite archaic, and indeed the idea of producing something so advanced was the inspiration for Pal designing the iCon. “Out of the blue one day unexpectedly I was curious about the possibility to create good sound AND smart features matching a microprocessor with an old school TVC”. Pal had a lot of help and encouragement from mentor and friend Gary Gardner, the two of them spending hours daily chatting online about the design. The company name ‘Triple M’ refers to Gary’s pet phrase “Music Matters Most” and ‘icOn’ is Pal’s aim to create something iconic. He certainly wants to create products that are unique, and explained some unique ideas including a future model with voice operated control. He told me “this existing first version will get a firmware upgrade soon with blind A/B test feature for golden ear audiophiles who love to compare interconnects, DACs, etc”, which could be very useful for HifiPig reviewers, then. Rather than just accepting the inconveniences and limitations in hi-end audio equipment he is on a crusade to address and perfect them.  The Smart icOn has a USB link on the rear to update software, and purchasers of the unit will receive updates as and when they happen.  Whether some of the cost of the technology employed in this unit could have been used for upgraded components, depends on whether you want another “same as” product or something as unique as this. I think this is an amazingly well thought out unit and answers many of the questions from prospective passive preamplifier customers. Note the recent spate of remotely operated motor-driven passive preamplifiers. This does the same, but in a very different way, and with so much more possible.

The unit can be bought with an add-on of an anti-resonant transparent acrylic base attached to the base of the icon that lights up with a strip of LEDs capable of 16 million different colours, changing from blue for low level to violet for medium and fiery red for high setting. Pal’s love of lighting to supplement the music ties in well with his earlier career on the human mind and particularly his work on the Ganzfeld technique, selling a light mask that you put over your eyes and which shines or strobes a palette of bright blue light whilst you listen on headphones to relaxing Tibetan or binaural heartbeat music. He kindly sent me one to try during my review and in around 10 minutes I felt a little more relaxed and able to take my mind off writing this review. Oops. The process is supposed to get your mind to produce theta brainwaves which flourish between the waking and sleeping state of daily life. The mask certainly gets warm and was very relaxing. Perhaps a review on this for Pig at a later date.

The heart of any TVC preamplifier is the coil. The two coils are custom-made for them by SAC of Thailand, since Pal needed it to operate in 1dB steps, rather than their standard transformer which operates in 2dB steps. It uses OFC copper winding with silver-plated/Teflon coated connecting wires, and a Supermalloy core. Those remembering cassette tape heads will recall the different manufacturers vying for the best head whether it was Ferrite, Sendust, Permalloy or Akai’s “Glass Crystal Ferrite”. The name Permalloy is due to it being 80% nickel-iron alloy and with excellent permeability (the degree of magnetization of the material in response to a magnetic field), and the “Super” being better. The choice of material for the coil also affects the sound; the Radiometal offering better detail at low levels and better speed and extended higher frequencies.  The SAC coil also has an impressive total primary inductance up to +1,100 Henry and channel imbalance of less than 0.05 dB. The unit comes supplied with an Apple Remote, a product becoming increasingly popular by those needing a remote but don’t want to actually manufacture their own, and one that is also good looking.  Also packaged are four shorting RCA plugs for controlling crosstalk and noise on any unused channels. A lovely thought.

The unit is of good build quality and looks, all the made more exciting by the TFT screen on the front of the black aluminium unit. An on/off switch was on the left of the review model, rather than on the rear as illustrated on the website. To the right of the screen is the single knob that operates all commands if you don’t use the remote. This is a non-motorised knob so it doesn’t move as you alter level on the remote. The rear of the Quartet is full of good quality components and with a well laid out internal circuitry. It has 4 RCA line inputs (the display shows ‘input one’ as a turntable input, though of course you will need to add a phono-stage if you do intend it to be for vinyl input.) As well as RCA unbalanced output there is a 12v trigger socket, the USB socket and a switchable input ground so that you can combat hum or ground loops, plus chassis ground connection.  This preamp is also unique in that it offers the choice of AVC or TVC operation, so in AVC (Autotransformer Volume Control) mode the input ground will need to be “ON” since only the secondary coil is used in this mode, with the primary coil not forming part of the audio path. In this mode, though, the silver shorting RCA plugs need to be connected to the monitor input, which Pal informed me will reduce the inherent “ringing effect” of transformer designs. The addition of tape in/out however gave me a chance to get historical and connect up my aged Akai GXC75 cassette recorder. Ever so often I like to connect up an aged source of music and as I hadn’t played cassettes for many years, today was a good opportunity to test the tape in/out function. Whilst I might not have a Dragon in my house with its automatic azimuth adjustment, my cassette recorders were always optimally set up, and playing an old favourite Focus album “In and out of Focus” the sound was remarkably stable and not itself showing signs of needing to adjust the head to focus the sound and get better top end. The music was surprisingly engaging from such a temperamental medium. Hard to think that in 1980 cassette sales were higher than vinyl, and that today cassette sales are starting to rise.  For the all-important listening sessions I turned to DAP and to vinyl via my Manley phono-stage. Power was provided by a Krell KAV250a.

The Music

A nice thought was the personalised message to me on the start-up menu on the TFT screen as I switched on the unit for my review. What a lovely idea if he were to do this for every purchaser, and makes a lovely alternative to a personalised top or face plate, which a few manufacturers do offer (at additional cost!)  It made me smile when I first turned on the unit.  After a quick listing of the “dot dash” Morse codes to assign functions (it doesn’t show for very long, but all is explained at your own pace in the instruction manual downloaded from the website) and I can start to do the all-important listening. The Apple remote is a lovely minimalist device, making operation easier, and once you get used to which button operates which function you are good to go. All buttons operate as illustrated on the Apple remote, with the play/pause button programmed to mute the preamp (which is actually the same as playing and pausing the sound, so no confusion there). Left/right buttons changes channel or alters balance and up/down turns the volume up and down. The central button on the remote can either change source or switch between TVC and AVC mode. After an initial software issue on selecting Source One on the review sample, I was good to listen, and wow did it impress. As mentioned, t

he unit comes supplied with shorting plugs which help to ensure noises and crosstalk don’t intrude on what is a very quiet unit, as one would expect and hope; having a high impedance input the floating primary coil could perhaps be sensitive to unwelcome intrusion.

My first serious listening was from 192/24bit sources. The first movement of Sibelius symphony Number One (Simon Rattle, Berliner Philharmoniker) after a quiet opening to get us ready for some lovely Nordic tunes has very busy lines of argument between strings and brass with percussion acting as referee. The preamp allows a good sense of what is going on without the busy lines getting confused. The initial transients from the brass instruments were quick and powerful. The strings were natural and warm with a solid and defined bass end. The space between instruments was just as I would expect, so I couldn’t really fault the sound. No sudden bursts in transients from the instruments caused any concern. The detail is all there for the listening, but the music is allowed to breathe and relax during the very beautiful Sibelius melodic lines. I forgot I was listening to FLAC, and just took in the music. Of course it all should sound really good; there are no electronic gubbins getting in the way between the source and amplification, one reason why TVC/AVC passives are for many the obvious choice for high level sources. The soul of the device is that ‘coil’, and whilst it might not be as expensive as some out there, it is certainly well made. The reed relays undoubtedly enable adjustment of level to be quick, and whilst 1dB is a good modicum for steps on a volume control, because it is being operated by Hamlin relays which need time (albeit very short) to switch on and off, it still means you will hear slight glitches as you move the levels up and down at speed, sounding a bit like little scratches on records. I didn’t feel it was an issue, and perhaps some clever software could minimise this, but whilst one expects it when physically moving notched volume controls, from a remote and sitting 6 feet away one doesn’t really want to hear it.  However, because changing level can be done at a greater speed than conventional heavy old school Yaxley rotary switches, I did not find it a problem.

Pal spoke to me about the ‘ringing’ effect that can be heard from TVC passives, one reason why he added the AVC mode, which reduces that top shine that some may not like in TVC preamplifiers. As he told me “In AVC mode the ringing is smaller with loading the primary with a 10k resistor.”  Having listened to TVC and AVC preamps in the past I have noticed the difference in sound, the former often being ‘brighter’. By going into the mode setting I was able to select AVC and then use the tape monitor to A/B test between AVC and TVC.  Indeed listening to my own album “Boxed In” and the track “Vertigo” that I know so well I was able to hear some of that top end disappear, and it also took away some of the stereo detail and excitement. The fact that I could now change the sound depending on how the music was recorded was quite a good feature, though whether I would use it was debateable. Luckily it wasn’t so radical as switching off and on the Dolby B on my cassette recorder I played at the start of the review, and Pal spoke to me about using it to tailor the sound of your hifi just as you might select different cables to get that perfect match. ‘Blues on Bach’ and the track “Regret” from the Modern Jazz Quartet released in 1973 with its harpsichord and vibraphone gave me a chance to test out the AVC mode as well as that ringing effect. Yes, the sound is brighter than my resident preamp, but I did not find any problem in the enjoyment of music. The piano in “Blues in B Flat” settled things down, but the brilliant vibraphone playing from Milt Jackson had much force and showed the slight imperfections from the microphones, which in AVC mode was more realistic, though the extreme stereo from the two microphones across the instrument was more noticeable in TVC mode.

Turning to London Grammar “Hey Now” that bass was more pronounced than I had heard before, showing that there wasn’t any lack there and the AVC mode did settle some of the edginess down; especially the slight over-modulating in her voice when she got excited. Track three “Shyer” starts with a short 8 second rehearsal before they begin for real. I have spoken before about groups trying this “as live” technique at starts of tracks, but I don’t think it actually ever adds to the music, just as some artists seem to like to add fake record scratches on tracks created on computer audio mixing software.  Whilst mid frequencies were clean and well defined, only the lowest bass sounds weren’t as solid as I have heard, though the slight reduction at top frequencies in AVC mode settled the performance down.

Dadawa ‘Sister Drum’ is one of my favourite albums with extreme dynamic range, excessive bass and extreme ambience; an album of Tibet influenced music sung by a Chinese lady called Dadawa with music by He Xuntian.  This was the first Asian album to make 1 million sales. “Home without Shadow” starts very quietly and builds up to very loud finale if you start the track with your levels too high. This album is full of unusual instrumentation and backing vocals and highly enjoyable when neighbours allow you to raise the levels, especially the last final “The Turning Scripture”.  Bass was powerful and well controlled. The mids are detailed and human. Only the top slightly didn’t hit the highs as musically as I have heard, though this was still an exceptionally good performance and more than met its price tag.

Conclusion

For £1499 for the unbalanced or £1999 for the balanced version, this is an exceptionally well thought out and clever unit for those wanting the clarity and purity of passive but with additional features turning the technology truly into the 21^st century. This is an exceptional first product and only the extremes of bottom and top end were not quite as good as some passive preamplifiers that cost significantly more, but being able to select AVC or TVC allows you to get the best sound for your system. In terms of features and originality it is in many ways an outstanding product and well worthy of your attention.

AT A GLANCE

Build Quality:  Well put together with black aluminium frame. A basic design made more exciting by the TFT screen and socketry at the rear.

Sound Quality:  Clean sound as one would expect from a transformer design. Provision for altering levels and balance, that doesn’t interfere with sound, and the choice of AVC or TVC, which will do, just so you get it all right.

Value For Money:  At £1499 for the unbalanced passive pre with this amount of facilities including TFT screen and remote, this is an exceptional product.

Pros

1dB steps
TVC/AVC at excellent price point
TFT screen
Remote
Facilities to change levels

Cons  

Not at this price

Price: £1499

Janine Elliot

Ian Ringstead recently reviewed the EB 2 from Arcaydis and now focuses on the smaller EB1S. Like the EB2 it is made in Sheffield in the UK.

“The review pair of these small speakers arrived in black and were well made, just as the EB2s were. White or oak are also available as standard…”

Read the full review here

Dan Worth plugs the £900 MUTEC MC-3+ Smart Clock USB into a couple of his systems with some interesting results. 

“MUTEC products are installed in cutting edge broadcast and television stations, well-respected recording and mastering studios as well as renowned musical theatres, opera houses and universities all over the world. The new line of audiophile consumer products takes their experience from the broadcast and pro audio world into the listening room at home to provide a level of audio performance generally only found in the professional world where the bang for buck is far greater…”

Read the full review here

Matthew Sampson takes a listen to the Hifiman HE-400S planar headphones costing $300 (£239).

“Being objective is difficult, especially when you go in with a strong bias. I wanted to be right, more than anything else, because I wanted to feel good about a personal purchase. When I got the Hifiman HE-400S, I already had experience with planar headphones, in the form of my Fostex TH500RP. They were bigger, they were sturdily built, they were luxuriously appointed, and, perhaps most importantly, they were a full USD 100 more expensive. So naturally, I didn’t want to get sudden work-related buyer’s remorse. Luckily I didn’t, but I also wished that I’d bought the Hifiman cans…”

Read the full review here

Winyl Record Cleaning Fluid offers a novel way for you to clean your black disks. The stuff cost £19.99 for 500ml and here Dave Robson gets down with the sticky stuff. 

“Having only a small record collection, as CD arrived pretty soon after the Hifi bug bit, my records are all mostly old from the 80’s. I have bought some new “old” records and some secondhand as I think some recordings just need to be heard on the format they were intended for. I am embarrassed to say, but my record cleaning regime stood at a litre bottle of Isopropyl Alcohol and one of those velvet covered sponges. That and several teenage parties hasn’t left my little collection in the most pristine of condition. I have seen the “Wood Glue” video on social media but thought that was a little too risky. While surfing around Ebay, I did come across this Winyl cleaning fluid, I watched the associated video, and it was the same technique as the wood glue. Better than that it was specially designed for your precious records and looked a simple process. I purchased a couple of the tester sizes 50mm (£2.50 inc free delivery UK). The bottles arrived a couple of days later in a sealed plastic bag containing the fluid, syringe with applicator attached and instructions…”

Read the full review here

Dominic Marsh takes a listen to the Tannoy Revolution XT8F floorstanding loudspeakers costing £1499.

“TANNOY.  Now there is a name many people will recognise and it’s one of the few names that are deeply embedded into the way people around the world would describe a loudspeaker system.  The name actually occupies the same lofty and unique territory in our everyday language as the name “Hoover” is used to describe vacuuming your home, as in “I’m going to Hoover the carpets”.  How many times have you read in a newspaper, book or magazine, or perhaps watched a TV program or film containing these words:  “An announcement was/will be made over the TANNOY system for all passengers to . . . . . . . “ and is still in regular use even today?   No surprise either that Tannoy are still manufacturing Public Address systems as well as a huge range of professional studio equipment…”

Read the full review here

Janine Elliot takes a listen to the brand new Music First Audio SENLAC SJE Monoblocks costing £4900 plus VAT.

I love mono-blocks. Maybe it’s the idea of twice as many units stacked on my rack or the fact there are two completely separate power supplies and amplifier circuits.  To be sent two Class AB mono-blocks from the company that makes one of the fastest and purest passive TVC preamps out there was only going to get me extremely excited, especially after reviewing their very able two-box Reference MM Phono Amplifier a while back.

Music First Audio brought the idea of passive preamplifiers back into the limelight back in 2003 and reviewers and audioholics around the world have loved the speed and accuracy of the products over the years. I have to admit I use the Baby Reference every day, and am unlikely to want to change it. Having that detail and truthfulness in the preamp stage does mean that the power and speakers do need to be equally fast and accurate. My speedy Wilson Benesch speakers were fortunate to have heavyweight brothers along for this review, namely the £15,000 Avid  Reference Four stand mounters, which are particularly fast and accurate loudspeakers. The MFA mono-blocks retail at £4900/pair plus VAT which, when you realise that works out at under £3000 per channel ‘all in’, means this is exceptionally well priced and a very ably sounding product.

Yes, rather than wading through thousands of words about my favourite vinyl and digital recordings, I have started the review with the all-important thumbs up. I don’t want to slow you down reading about one of the quickest sounding amplifiers I have reviewed. Speed is, of course, just one factor in the “ingredients” of any good amplifier and I was pleased to have the time to leisurely listen and get a taste for all its merits. Fins are a key part of this amplifier, and whilst not forming the front panel like the distinctive aged Quad 405 it is none the less a significant portion of the design. Side views give a likeness to that icon, but that is as far as the likeness goes, apart from perhaps the Class AB form and the fact that CEO Jonathan Billington has a love for anything Quad. Sonically these are like chalk and cheese. The Quad was a tractor compared to the speed from this unit. This is a Lamborghini Aventador rather than Lamborghini DL25 farm tractor from the past. As well as cool looks (I am talking about the MFA, not the Aventador) this is extremely cool in operation. Build quality is exceptionally good, though those two fins mean that holding the amplifier is probably best done central. The front panel has a significant 10mm faceplate, available in silver, black or blue, to match the Baby Reference, though as yet there is no red faceplate.

I mentioned the MM phono amplifier earlier, and MFA was fortunate there to employ the skills of Nick Gorham from Long Dog Audio as a collaborative product. Jonathan has decided to engage Nick again for the SENLAC, though this amplifier is a thoroughbred MFA product. Having said that, it does mean the SENLAC SJE will have had Nick’s work on his own 200w power-amps as a starting block for ideas for this 100w baby. I first met Nick at the Whittlebury Hall show a number of years back, a gentleman with distinctive long beard who wouldn’t look out of place on a Harley Davidson or coming down a chimney in December. When he was asked to work on an amplifier the main constraint was getting the ‘big version concept’ into a small enough package to fit inside the casework that Jonathan wanted to use. He made sure a good part of that case work was given over to the heatsinks at either end, but inside there is still enough room for 3 circuit boards, a 300va mains transformer and 27000uf of capacitance in the power supply. This amplifier is Class AB simplicity, or rather as Jonathan put it to me “complex simplicity”. There needed to be enough components to get it to work well, but it needs to be simple enough that it doesn’t change the sound nor slow it down. As Nick puts it so eloquently; “I try and design stuff to do as little damage as possible”. Whilst he hasn’t made the amp overly complex, he hasn’t gone to the other extreme either. “I have not removed 50p parts just to save board space if the circuit was better with them”. The main constraint was getting the big version concept into a small enough package.

Boy, this is a quick sounding amplifier making sure initial transients are all there as fast as possible. Combining this amp in the review with the Baby Reference was therefore ideal.  Allowing balanced inputs from source to power gave me the best opportunity to test the unit, and I used Ecosse cables throughout, apart from Nordost Red Dawn XLRs from pre to power. Those too are exceptionally quick sounding and so are ideal soul mates. Nick makes use of high performance MOSFETs that are available on the industrial market, but haven’t been picked up in the audio world that much. With a passive pre-amp on MFA’s books a power amp that was equally as quiet was essential. It ticks that box (or rather two boxes), too. This is an exceptionally quiet amplifier. The IXYS MOSFETs have excellent electrical and thermal properties, and this amplifier only gets warm after several hours of use, unlike my Krell that could double for a central heating unit. They could therefore be placed one above the other, though the small rubber feet and overhanging faceplate mean that they are best put on separate shelves or side by wide. The beauty of using these particular MOSFETs also means that it negates the need to have to stack amplification stages in parallel in order to give sufficient power at the output, meaning fewer components and therefore less of a detrimental effect on the sound. This a feisty amplifier with the output pair running at 450mA idle current meaning the SENLAC operates in class A up to around 6 Watts and then all in up to 100WRMS 8Ω (190W into 4Ω), which is more than enough for most. This mono-block is high quality all the way from in to out. Even at high neighbour-testing levels the output was very well controlled and clean.
Whilst the front end of the amp is not that unusual, all the current sources and gain stages have cascades to prevent distortion and to reduce memory distortion. Nick believes that this and the single output devices are the key to producing clarity to the mid and high frequencies that to his ears compares with single ended valve designs, and tailored with the low output impedance and current capacity have all the characters of a good transistor design.

To the left of the front plate is labelled the important description “100W Class AB SLN”. The SLN indicates that it is super low noise. It also has SENLAC SJE printed on the right hand side; further interesting stories explain this fact. Firstly Senlac is a hill near the town of Battle, near Hastings, East Sussex. This hill is generally accepted to be where King Harold Godwinson set up his army before the Battle of Hastings on 14 October 1066, and where the Norman William the Conqueror (also known as William the Bastard – the only thing I remember from my history lessons at school) set his army at the bottom of the hill. The rest is history, with William winning and having himself crowned King William the First on Christmas Day in Westminster Abbey.  If you didn’t already realise Hastings is where Music First Audio is based, a lovely southern England coastal resort where I too  ‘camped’ at in a caravan one wet summer in my youth. The “SJE” refers to the initials of a friend of Jonathan Billington who passed away, a gentleman called Stewart James Emmings, who looked after his collection of Nagras, and who previously worked for the British Film Institute. The Muppet Show was his last job, digitising the original shows.  This mono-block is no Muppet, however. It ticked so many boxes for me; speed, detail, soundstage. It allowed the music to speak and therefore the music could mean so much more. It could portray the music with accuracy and therefore with realism and gusto. All amplifier stages are discrete components, with only op amps used in the balanced input stage and in the DC and HF detection circuit to save the loudspeakers if someone does something stupid. The RCA/balanced switch at the rear connects to a relay to switch between single ended and balanced sources. The rear of the unit has decent quality gold plated RCA plugs plus a Neutrik XLR, and sensibly the on-off switch (with delayed start relay) is at the front. Many will know I don’t like switches at the back!

The Sound

Did I mention that this is an exceptionally fast amplifier with particular attention to detail and accuracy. Playing “The Oak And The Ash” (The King’s Singers) the throaty vocals were very clear and I felt closer to the performers, hearing more information in the music than I had noticed before.  What was particularly noticeable in all the music I played was that extended reverb time and detail. My own studio recorded album “Boxed In” showed more reverb at the ends of phrases, particularly the vocals than I thought I had put in; sounds don’t disappear or get mangled up as they do with some power amps. In “The Hut of Baba Yoga” (Pictures At An Exhibition (The Minnesota Orchestra) there also was an extended depth to the hall reverberation, and also a clarity from the brass that was quite compelling. Similarly the percussion was crisp and detailed, with the kettle drum particularly clear. “Walking on the Moon” (Yuri Honing Trio) continued that detail and speed with the percussion, particularly the snare drum, which I could hear sympathetically vibrating as a result of other instruments.

I recorded piano, violin, viola, cello and harp for a forthcoming album by an up and coming vocalist a few weeks ago at the studio run by the lead member of one of my favourite bands from the 70’s, the symphonic rock band “The Enid”. I was graced by the company of the main artist from that band, Robert John Godfrey, who was kind enough to give me some of his albums. His music is very piano Rachmaninov inspired – my favourite composer – so no wonder I liked his band. The music is romantic, sad and joyful, sweet, powerful and orchestral in conception. One of the albums is “The Art of Melody” featuring himself plus the CBSO (City of Birmingham Orchestra) on a number of the tracks. Whilst musically this album is limited, it uses many of his idioms from other albums, notably from ‘In the Region of the Summer Stars’. Track 7 “The Mirror of Love” particularly uses the distinctive descending piano pattern that appears in so many of his music and the sweet Rachmaninov-inspired melody I remembered from 1976 when I first heard the band. This album has a very well recorded piano and orchestra, though some of the tracks used synthesiser sounds which the MFA power amp was able to show up quite easily. Nothing gets past this amplifier. Track 6 “The Art of Melody” is studio created and track 8 is the very same music but featuring the CBSO, just as happens in tracks three and seven (“The Mirror of Love”). The studio album “Aerie Fairie Nonsense” and my favourite album “In the Region of the Summer Stars” show their age through the SENLAC SJE, especially the electronic instruments, sounding somewhat like Wendy Carlos tracks in the film A Clockwork Orange. If you want sweetness and slowness, then this amplifier will be too detailed for you. But don’t think this amplifier has no heart. What it did in my few weeks of listening was open up the sound to give more of the music than I thought I had; I was right there with the musicians and I felt every breath of the singers. Vocals and mid frequencies are particularly musical and offer valve-like properties, though with much more precision. Acoustic guitars are often used as test discs as nearly any hi-fi sounds exciting due to the bright sounds and naturally quick transients. However, I was still impressed playing John Van der Veer’s “The Arc”(‘Music for five Acoustic Guitars’, Naim records). I could hear the fingers on the fingerboard as well as the sound coming out of the sound hole.  I remember recording an acoustic guitarist on BBC Radio3 “In Tune” with a pair of AKG414’s in front of the player with an added microphone near the fingerboard to hear the important moves across the frets and strings. I thought it sounded great but the producer wasn’t so happy. For me the sound became alive and real. I similarly heard that detail in the Arc album highlighted by the speed and accuracy from this power-amplifier and pin sharp Avid speakers. You became engrossed in the music and driven by the personality of the musicians. That detail and speed can perhaps come across as brightness on the guitar tracks and possibly impinge on your enjoyment if played too loud on any fine audio players, but in the beautiful track ‘Cantora’ the clarity of delivery of sound enabled me to easily pick out the 5 guitars and position them very precisely across the stage.

I love playing Eastern flavoured music, such as from Dadawa, in my reviews. This time I decided to use the “I-Ching of the Marsh and the Moon” (Chesky Hybrid SACD 265) performed on the Yong Ching (Chinese Dulcimer), Bamboo Flute Er-Hu (Chinese 2-string violin) and synthesizer. This type of music is best played at low level and where some amplifiers (and preamplifiers) may find such things difficult to operate with any panache, this combination made for beautiful melodies and lush harmonies. This album has a very noticeable clarity and detail from close mic’ing of the eastern instruments, all aiding in the enjoyment. The excellent close mic’ing of the Eastern instruments allows for great detail of initial transients through to final decay turning this music into a jewel of exploration, all possible at low level as well as high. These tracks include ambient street noise, which one might find annoying, as well as all the instruments, but just seemed to work here and give a greater depth and understanding to the music. The reverb was highly convincing through the amplifier; the album being performed in New York City’s St. Peter’s church. Moving to classical music, and Netherlands Bach Orchestra with “An Wasserflussen Babylon” (‘Death and Devotion’, Franz Tunder) the soprano singer Johanette Zomeris has an annoying high pitch fizz ending a lot of her words. OK, here again I shouldn’t be playing annoying music but the point is that this amplifier really brings the musicians or traffic noise into reach of me in the room with a clarity and zest that makes it more meaningful than I have found on many an amplifier. I guess if something sounds wrong but you can’t quite focus in on it then it will quite simply feel wrong. This SENLAC makes all those impurities sound pure and therefore not becoming a problem for me. This amplifier is extremely accurate but that doesn’t mean it isn’t musical; if it portrays the music exactly as it left the DAP or vinyl disc then you have perfection. Mids and vocal are extremely accurate and sensitive. Only the top end can show a little too much bite particularly if the preamplifier is brittle at those frequencies.

Conclusion

This mono-block was surprisingly responsive and detailed creating an accurate performance of all the music and noises I played through it. This amplifier had an excellent transistor bass-end grunt and valve-like mid warmth that made for a very enjoyable and realistic portrayal of music. The speed of transients and longevity of sound was a noticeable feature and I was very sorry to have to pack the two units carefully back into their little boxes. For the price of £ 5880 this is a steal.

AT A GLANCE

Build Quality:  Excellent build and lovely to get a choice of colours.
Sound Quality:  An exceptionally fast, detailed and honest portrayal of the music.
Value For Money:  At £5880 including VAT this is an excellent price for a Class AB mono-block with such a clean performance.

Pros
Fast and accurate
Excellent at all frequencies especially lower and mids
Doesn’t get hot
Excellent price-point.

Cons
Nothing of importance
Feet could be bigger so you can stack two together

Price: £4900 Plus VAT

Janine Elliot

Janine has suggested that the SENLAC SJE Monoblocks are put forward for Hifi Pig’s coveted Outstanding Product Award and so they will now be sent to a second reviewer to complete the process.

Specification
Power output: 100W/8 Ohms, 190W/4 Ohms
Bandwidth: 5Hz to 100kHz +- 1dB, 20Hz-20kHz += 0.05dB
Sensitivity: Gain 28dB, 1 RMS for full power output (single ended and balanced)
Distortion:less than 0.002%, more like 0.0004% @ 1kHz 1W
Signal to Noise Ratio: 92 dB Ref 1W RMS

Hailing from The USA the PS Audio Stellar Gain Cell DAC/Preamp & S300 Stereo Power Amplifier cost  $1699 and $1499 respectively. Here the all American duo are reviewed by David Blumenstein.

“You can produce relatively affordable HiFi products. You can do so and be true to your roots. This is what Paul McGowan and the team at PS Audio endeavor to achieve. PS Audio came to the public’s attention with the introduction of its cigar box preamplifier for the princely sum of $59.95 just over 40 years ago, and as it and the industry evolved, so did the company’s product lines and prices in keeping with the growing market. The Stellar DAC/Preamp and S300 Stereo Power Amplifier present an opportunity for true value for money. The pair’s straightforward unassuming external design hide a beastly duo under the bonnet. The duo go for the minimalist look, as apart from the two glow-in-the-dark PS Audio logo emblazoned power switches, it is the lone menu display of the Gain Cell DAC which sheds any light into the room…”

Read the full review here

Costing £3995 the AVM Inspiration CS2.2 packs a lot under the hood. It’s a streamer, a CD player, DAC, FM radio, Internet radio player, it has an on-board MM/MC phonostage and outputs a healthy amount of power. For those looking for a one box plus speakers solution it looks the business, but does it cut the mustard? Dominic Marsh finds out. 

The AVM Inspiration CS2.2 is one of many compact “all in one” units found on the market today.  The trend seems to be driven by a desire for people to be living in more and more cramped spaces in housing becoming less spacious, or people don’t want a heap of boxes sat in a rack and  cramping their lifestyle choices.  The word “compact” though conjures up images of cheap parts shoehorned into a small box, beset by a huge list of compromises to achieve that goal and with a sound quality ranking just above the standard of a portable transistor radio.

Just one look and touch of the AVM Inspiration CS2.2 tells you to take all your preconceptions about that word “compact” and erase them entirely from your mind.  AVM haven’t just helped you to get rid of that pile of boxes, they have redefined what “compact” should signify, with a price tag approaching four thousand pounds that forces you to treat it with some serious reverence.

Construction

You can tell instantly that this is a German designed product, with stunning attention to details, like the chassis and cover fitting together perfectly, the way the volume control glides rather than merely rotates, the buttons having a tactile presence to them.  As BMW are obsessive about shut lines on their vehicle’s doors, bonnets (hood) and boots (trunk), so too I would imagine someone on the AVM production line is checking the accuracy of fit and finish before it leaves the factory.

Within said compact box is a powerful Class D amplifier with a rating of 165 watts into an 4 ohm load, a slot loading CD player, an FM only tuner with RDS, a DAC, a phonostage with MM & MC input, a dedicated headphone amplifier, Bluetooth receiver and internet streaming facility.  There is no DAB radio fitted, but there is an internet radio streaming facility. There is full support for Qobuz and Tidal. Streaming-wise it will work with all the usual suspects (MP3 , WMA, AAC, OGG Vorbis, FLAC, WAV, AIFF) and upsamples these to 192/24.

With all that functionality on tap, the front panel controls are rather sparse, but don’t let that fool you for one moment, as the 5 push buttons beneath the display take you through a menu system that is pretty much comprehensive, but navigating down through the menu layers is logically arranged, something that can’t be said of some products.  This is one occasion where sitting in front of the unit with the user manual to hand helps to unravel the menu system easily.  Aside from the display and menu buttons, we find source selection, a power switch, rotary volume control, the slot entry for the CD player and a 3.5mm headphone socket.

Around the rear though is where the business end of this machine’s skills lie.  Reading from left to right, there is an FM antenna plug connection, then a pair of RCA sockets for phono connection, 3 pairs of RCA sockets for line level analogue inputs, then a pair of fixed line level analogue output RCA sockets, then a variable level pre-amplifier output pair, then a USB socket for firmware/software updating, then digital inputs consisting of an RCA socket and a TOSLINK connection and a matching set of digital outputs.  Back to the left and on the bottom row now we see a ground connection post for the phono connection,  then an RJ45 LAN connection, then a USB socket  so you can add a hard drive, then two buttons for Update and Reset accordingly, then the Bluetooth antenna.  Finally, we find two pairs of loudspeaker connections, but in a BFA type format only.  If your speaker cables are blessed with 4mm banana plugs then you have no worries, but those that have bare wire or spade connections will need to have new cables or existing cables reterminated.   At the far right hand of the rear panel there is the mains power switch and an IEC inlet. So, connectivity-wise AVM seem to have pretty much every area covered and whether you are looking to stream from a NAS or a hard drive, or use more conventional media you are well catered for. The line level inputs allow you to add other external sources should you wish and I would imagine many will use one of these pairs for improving the sound of their televisions.

AVM have also created an app you can download from their website onto your mobile device to control all the functions of the Inspiration CS2.2.  A remote control handset and charging dock is an optional extra.

Sound Quality

Being the very busy Hifi Pig Reviewer that I am these days, I unpacked the CS2.2 from it’s box and connected some mains to it, discovered that my speaker spade connections are not suitable, so a dig around in the trusty spares drawer and produced a pair of Tellurium Q Ultra Blue cables with 4mm banana plugs fitted that I keep for eventualities such as this.  All connected up I pressed the power button but simply ignored what it was doing because my mind was concentrating on other things at the time and that included reading the user manual, or indeed studying the specifications.

I then faced the prospect of inserting a CD into the slot loader and I will admit I had rather a nervous moment.  I do distrust, rightly or wrongly, slot loading CD mechanisms as two previous players (not from AVM I hasten to add) in for review had these things installed and both times my CD went in and didn’t come out voluntarily, plus car CD players have the same trick up their sleeve unfortunately, so they don’t have an unblemished reputation with me.  What the heck, it either makes the third instance for the hat trick or swallows and plays the CD, so it was gamble time.  Without even looking, I reached across to the CD rack and pulled one out at random from the bottom shelf – the same shelf were all the blind purchases should have remained blind, as in bought from charity shops for £0.99p, boot sales for £0.10p, or a token punt from someone’s ecstatic recommendation.  “Oooh, you MUST buy this CD Dominic, it’s superb” to find in reality it’s not to my tastes at all, not even close.  An ideal sacrificial candidate then for a potentially recalcitrant slot loading player.  In it went so gently and so smoothly, I ejected it and loaded it again with the same result, so I gave the AVM immediate absolution and it worked flawlessly for the duration.

The CD was called “Red Hot and Cool” a compilation CD given away free with some magazine or other, the first track being Moby’s ‘Why Does My Heart Feel So Bad’ no less.  Suddenly the AVM went from number four in the list of my priorities, straight up to number one instantly.  For such a “compact” unit, it produced a big, solid, powerful sound which got my attention, more biggerer, more soliderer and more powerfullerer than my resident system’s sound.  Dominic was more than impressed.  Well he was until he downloaded the app from the AVM website and despite many attempts I could not get the CS2.2 paired up to my mobile phone.  After a lot of head scratching I came to the conclusion that my phone didn’t have sufficient free memory to operate the app.  Great pity, as the app purportedly controls every single function of the Inspiration CS2.2, so I had to make do with getting up off my backside and operating it manually.

I then dug out the user manual and read it from cover to cover, where I discovered this isn’t a weedy little 30 watts per channel amplifier that sounds like banging a dustbin with a stick, this was a hefty 165 watts per channel of Class D amplifier throbbing away inside that compact box.  No wonder it sounded as powerful as it did.  It also didn’t suffer from the typical Class D sound either, which can sound dry and unpolished, lacking in warmth and emotion.  I couldn’t fault the sound I was hearing and very soon I had dropped from my mind that this was a Class D amplifier I was listening to.

Naturally, I had to play my reference recording of Fink’s “Wheels Beneath My Feet” album to see where if any shortfalls in performance were.  I was on a fruitless quest there, as the AVM gave a stunning performance that matched, if not eclipsed, many a big grown up separates system.  The floor tom whacks the drummer inflicts on his drum kit during the track “Sort of Revolution” was delivered with awesome power and control, fair made my listening room vibrate I can tell you.  Each one of my benchmark points in this album was passed with ease and I heaved a huge sigh of relief when the CD player ejected my CD without any fuss or drama.  I believe the drive unit is made by TEAC which is a good indicator of build quality.

The quality of sound emanating from this box of tricks was equally impressive and consistent whatever the source of the music and the inclusion of the very able phonostage is a boon for those already on, or looking to jump on, the vinyl bandwagon.

The Class A headphone amp is also a very neat feature for late night listening and sounds on a par with the rest of the system.

Conclusion

Well, after having initial mixed expectations from this small compact box, those perceptions quickly vanished.  It is a beautifully built, very well specified and great performing unit as befits the AVM label.

It isn’t cheap by anyone’s standards and asking people to shell out just short of four thousand pounds is up to AVM to justify.  If however you consider that buying the separate units to make up the equivalent functions and with this level of performance would be well in excess of four thousand pounds, plus you are back to a rack full with 17 inch units which you didn’t want to begin with.

For those looking for a great sounding, feature packed and pretty much future proof all-in-one then this one ticks all the relevant boxes.

AT A GLANCE

Build Quality:  Superb.

Sound Quality:  Sweep your preconceptions about “size” aside, this is a top performing device.

Value For Money:  If you can afford it, then don’t hesitate.

Pros:  Fine build, great sound and more than enough features built in as standard.

Cons:  No remote control handset as standard.

Price:  £3,995.00

Dominic Marsh

Technical Specifications

Analogue Inputs: 4x line (RCA), 1x phono (MM, MC)

Digital inputs: S/PDIF coaxial and optical, synchronous USB, LAN and WLAN Ethernet connection

Outputs: 1x pre (RCA), 1x line (RCA), 2x pair 4mm/BFA loudspeaker terminals

Digital outputs: S/PDIF coaxial and optical

Power output: 165W per channel into 8 ohms

Headphone output:  Class A amplifier, 3.5mm jack stereo input

CD drive: Slot drive, spring mounted., TEAC derived

Digital audio output: upsampled automatically
to 24-bit, 192kHz

Supported media server: UPnP 1.1, UPnP-AV and DLNA-compatible server, Microsoft Windows Media Connect Server (WMDRM 10), DLNA-compatible servers: NAS

Streaming formats: MP3, WMA, AAC, OGG Vorbis, FLAC (192/32 via LAN), WAV (192/32 via LAN), AIFF (192/32 via LAN), ALAC (96/24 via LAN)

Internet radio: vTuner Service, Auto network config., Internet Radio Station database (automatic updates)

FM radio with RDS

Dimensions (WxHxD): 34×9.2x35cm

Weight: 10kg

Finish: Aluminium silver or black, chrome front optional

Based in Wales Leema has a great reputation for designing and building electronics to suit all pockets. Dominic Marsh takes a listen to their Tuscana II Integrated amplifier costing  £3,995.

“I recall having evaluated some Leema products before for Hifi Pig, namely their Elements integrated amplifier and Libra DAC.  I gave them both a “Recommended” award as I remember, because although they performed very well during the evaluation, they never managed to hit me personally on the emotional level and I struggled to make that connection with them, because they didn’t have that elusive X Factor that would have had me enchanted and utterly enthralled.  Maybe it is the ex-BBC origins of the company founders that was responsible for the design brief to be that way, maybe yes and maybe no and life is too short to hang on to imponderables such as that…”

Read the full review here