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Brevis
Price: $5,000 per pair

Likes: hi-end sound, KEF Uni-Q drivers
Dislikes: Not much 35-Hz bass

Wow Factor: looks as good as it sounds

More info: KEF R900

by John Gatski
KEF has hit on a winning formula for its various lines of hi-fi loudspeakers. These designed-in-UK, manufactured-in-Asia transducers offer excellent sound quality. There are high-dollar models, the ultra-modern looking KEF Blade for example but many of its lines are not that hi-end in price. In fact, the R900 tandem that I reviewed here are astonishingly good with a projected accuracy and air that rival speakers 2X the price, plus they kick out plenty of musical bass and look quite stylish.

Features

Priced at $5,000 per pair, the R900 is a medium-sized tower, 3-way loudspeaker with KEF’s highly praised Uni-Q driver array. Drivers include 1-inch aluminum dome tweeter, 5-inch aluminum midrange and an 8-inch aluminum cone woofer. The vented tower (four rear ports) measures 44.5-inches tall, 9.4-inches wide and just over 14-inches deep. They weigh a manageable 65 pounds each. They come with a four -spike special mounting platform that the user has to install. The grill is magnetically attached.
The speaker connections consist of two pairs of binding posts with a unique link knob that connects the drivers for uni-wiring, or separates them via the upper and lower posts for bi-wire. No jumpers to lose.

The KEF R900 speaker is a well-conceived, three-way tower that performs well above its price point. As a stereo pair, the speakers offers a balanced symmetry with airy highs, a very good midrange and ample low-end with nary any bloominess.

Spec wise, KEF does a great job with their factory rated specs; the -3 dB, supplied measurements range from 40 Hz to 28 kHz (-6 dB is 37 Hz to 45 kHz). My own in-room response, using an analog RTA, revealed a 40 Hz to 20 kHz response, within 4 dB. And that is free standing, several feet from the back wall. Pretty good specs!

The crossover points are 400 Hz for the midrange and 2.9 kHz for the tweeter/ The speaker can generate levels up to 115 dB and has a 90 dB sensitivity (ref: 2.83V/1meter). The R Series, as a whole, has trickle down technology from the KEF Blade. You can see and hear the lineage.

The setup

The KEF R900 arrived in easy-to-unbox packing boxes, and I had them out of the box and attached to their platforms in about 15 minutes. The speakers were placed about 8 feet from the listener position, slightly toed-in.
Associated equipment used in this review included: a pair of Pass SR-2 towers, MartinLogan Montis electrostatics and a pair of Legacy Studio HD stand speakers. The R900 were powered by a variety of amps during the review including a Pass X350.8with 350 wpc supersymmetry MOSFET output, Bryston 14B-SST with 600-WPC bipolar output, Rogue Audio Medusa digital/tube hybrid with 200-WPC, Coda’s new CSiB high-end integrated with 400-wpc bipolar output, and my trusty vintage Mcintosh MC-275 from 1965.

The R900 features bi-wire/link using two knobs

Preamps included the discrete output of Oppo’s HA-1 DAC/HP preamp, Rogue Audio RP-5tube pre, as well as my reference Coda high-current preamp. Sources included an Oppo BDP-105, Apple Macbook Pro with the Audirvana software player, an Android tablet with USB Audio Player Pro, and a Clear Audio Emotion turntable with Benz MC cartridge

The players were also linked to a number of DACs, including the Benchmark DAC2-DX, the aforementioned Oppo HA-1 and Mytek Manhattan. DSD and PCM audio were put through the DACs. All analog and digital cables, including the speaker cables, were from Wireworld. The power cords and strip were courtesy of Essential Sound Products.

With the primary connection done, I angled the R900s inward slightly and took the grills off (I like to see my drivers in action as well). With regard to the four rear ports, located at the height of each driver group, I decided to insert the foam plugs into all the holes and then later listen with them out to see if there was a significant difference. (In my room, I did not detect any major difference with the plugs in.)

The audition

First up was the Anthony Wilson Trio — Our Gang SACD, one of the most organic Jazz guitar/organ albums that I have heard in hi-res. The high-res, direct DSD recording also reveals abundant upper-end cymbal flourishes and that wonderful tube amp sound from the Hammond organ and the Gibson jazz guitar of Mr. Edwards.

The KEF R900 related this high-res DSD jazz recording with the essential warmth and detail I am used to hearing from my high-end speakers. A nice, spacious soundstage with plenty of space between the instruments. The top-end was never hard or edgy; the aluminum-based mid-frequency driver delivered a quick, tonally correct midrange — without exaggeration or hollowness.

The basss driver were equally impressive, with the metal drivers delivering good thump, but with quick precision. Since the organ‘s mid-bass chords are emphasized in this recording, I wanted to see if the port plugs made a difference in the midbass.

In my room with the speakers in the middle of the room, I did not hear a significant change in the bass character. In fact, the plugs, did not make much difference, since the speakers were well away from side walls and back walls. The port plugs may come in handy with more problematic rooms.

The balance of the R900s created a clean, immersive tone with lots of violin harmonics getting through. The violin’s upper-end energy was not hard sounding. It was, er, just right, to borrow a phrase.

Next up was the Warren Bernhardt - So Real SACD, courtesy of Tom Jung’s excellent DMP recording label, circa early 2000. As I have said over and over in my reviews, this jazz recording of piano bass and drums, is one of the best ever made in terms of the real character of recorded music. The drum cymbals and piano tone are spot-on delicious.

Like other top--notch speakers I have auditioned over the last 20 tears, I am pleased to say that the KEF R900 pair also does justice to this recording. The metal dome tweeter effectively radiates the top end of those wonderful cymbals, yet no stereotypical edgy or resonances. Bernhardt’s Steinway piano also passed the muster via the KEFs. That articulate upper-register tinkle — with its brilliantly captured depth — was delivered just fine.

As with other premium tower loudspeakers reviewed in my listening room, I like the open imaging character, and tight, precise balance of the R900s. The speakers did not have as much room-filling presence as my MartinLogan Montis electrostatics, which radiate from both sides, but still, I liked the way the conventional-driver KEFs filled the room. The tight, but surprisingly deep musical bass for an 8-inch woofer, also helped solidify the positive quotient of this speaker. The speakers don't have that ultra low-end like some of the double driver, tower speakers I have listened to, but they are very good for music.

Turning to ultra hi-res Classical music, I played the first movement of the Mozart Violin Concerto, a 2L 24/352 DXD recording, downloaded from the 2L site (Marianne Thorsen, violin; Trondheim Solistene Orchestra with Øyvind Gimse conducting). The track was played with USB Audio Player Pro, an ASUS Android tablet and the TEAC UD-503 DAC reviewed on EAN a few months ago.

This recording is an excellent test for speakers to plumb the complex depths of the violin tone. The high-res recording system captured the performance, Can the audio playback gear transfer that recorded sound? Mated with the Coda Technologies CSiB, a superb 400-wpc integrated amp (with EAN review upcoming), the R900s produced the violin and accompanying orchestra with convincing authority. The balance of the R900s created a clean, immersive tone with lots of violin harmonics getting through. Reminds me of the excellent, metal-dome RBH-loudspeakers I have auditioned in the past. And as with the drum cymbals, the violin’s upper-end energy was not hard sounding. It was, er, just right, to borrow a phrase.

R900 comes in several finishes, including this brilliant white

I also played a Classical violin and piano performance on vinyl through the KEF R900s: the Impex label reissue of the 1956 Jascha Heifetz/Emanuel Bay - Beethoven Sonata 8 and 10, originally recorded for RCA. This early mono tape recording has a natural openness and revealing detail as played from the master and his violin. Good speakers showcase the mono image of this recording with room-filling fullness and dimension. Not quite stereo, but very convincing nonetheless.

As I expected, the R900’s projection of the two instruments ranks up there with other high-end tower speakers I have tried; the mid/tweeters’ tight accuracy dynamically captured the essential violin and piano tone. I was impressed by how much of the recording room’s ambiance could be detected via this mono mix.

Switching over to Pop music, I played the HD Tracks 24/192 download of Michael Jackson — Off The Wall. Sonically (and, arguably, artistically as well) his best album. The amalgamation of Disco, Funk and Latin rhythm-infused music, combined with those catchy, hooked filled lyrics: this is analog recording at its best.

Living Off The Wall
The KEFs were right at home with the thumping, but not overly bloomed bass lines, the out-in-front rhythm guitar and horns, and all the percussion. The hi-res transfer of the OTW multitrack never got lost coming out of the R900s, maintaining a listenable, articulate balance to all that sonic business. And again, the tweeters never sounded hard or edgy.

For a vocal demo, I popped in the Celine Dion— Falling Into You CD and listened to her performance of Eric Carmen’s “All By Myself.” One of her best songs. Ms. Dion was at her prime in the mid 1990s, and she does such a great job with the vocal range of this song. From a gentle, just-above-a whisper to her major vocal crescendos, the KEF R900s proved themselves quite worthwhile on the vocal performance. They magnified Dion’s voice finesse, without excessive sibilance or being overly recessive, as some three-ways are.

Anatomy of an R900

By the way, these speakers had no problem being driven by any of the amps I had on hand during the demo. As mentioned, the Coda CSiB, the Bryston 14B-SST bipolar, the Pass X350.8 MOSFET and the state-of-the-art digital tube hybrid Rogue Audio Medusa — they all matched with the R900s, with only the amp’s sonic variations revealing any audible differences. I did a lot of listening on the Rogue, Coda and Pass amps.

Based on my R900 paring with the old Macintosh MC-275, the KEF's also are a good match with tube amps. Other than the slight bit of slowness in the mid/upper bass emanating from the Mac, the tone was smooth, detailed and seductive. Too bad, I did not have a tight bottom end tube amp to try with these speakers. Still, the old man Mac's mid and top-end were might good via the R900s.

The verdict

The KEF R900 speaker is a well-conceived, three-way tower that performs well above its price point. As a stereo pair, the speakers offers a balanced symmetry with airy highs, a very good midrange and ample low-end with nary any bloominess. At the $5,000/pair price point, it lacks the deepest, under 30-Hz bass, but for most music, the low end is plenty. And the speakers work with most any amplifier, including the latest digital version — all the way back to old tube amps, like my old Mac MC275.

If you are into a true, sonic picture of the source audio, especially hi-res music, the R900 is a speaker to consider. You need at least a medium-size room to enjoy its virtues. If you have the space, I have no doubt the KEFs will make you happy. The pair gets a Stellar Sound Award and a nomination to the 2016 Speaker of The Year list.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

ML Renaissance ESL 15A

by John Gatski
Experience Truth in Sound. MartinLogan is teaming up with Rogue Audio and CAF's Gary Gill for an exclusive, invitation-only event. Experience two systems: The new ML Renaissance ESL 15A speakers, driven by the Rogue Audio RP-5 tube preamp and M-180 mono block amplifiers. And the new EM-ESL X speakers, driven by the Rogue Audio Sphinx.

Rogue Audio M-180's to power ML speakers at Mini-CAF Event

The invitation-only event for interested audiophiles will be held in Rockville, Maryland, on Saturday, April 2 and April 3. The time is 12 noon to 5 p.m. for both days. RSVP to the event at capitalaudiofest@gmail.com for sign-up listing and further info. The Capital Audiofest's annual, full expo is scheduled for July 8-10, at the Rockville, Md. Hilton.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

Brevis

Price: $1,795 (per pair)

Likes: great visual appeal, sound

Dislikes: need a sub for deep bass

Wow Factor: with tripods, you bet

More Info: Artisan Audio

by John Gatski
At the 2015 Capital Audio Fest in Rockville, MD, I was perusing the various display rooms and found an interesting speaker company: Artisan Audio Electronics. This company based in North Carolina produces single-driver speakers, based on the Trinity Engine driver. What caught my eye, was the round, tripod-mounted Nautical Series. These speakers had an aesthetic appeal that was simultaneously high-end, attractive and space saving in their appearance. A minimalist kind of speaker that still commanded the room.

I had the Artisan Audio crew play my Hi-Fiman portable, filled with hi-res music. And I sat down and listened for a few minutes. Wow! I was impressed. Nice articulation and phase coherence in this one driver design. There was not an abundant amount of 60 Hz and under bass, but i was intrigued by the ability to easily position the Nautical's on their tripods perches. The drivers had a well-proportioned midrange and a nice airy top end. Ultimately, the Artisan Audio crew let me take the Nautical's home and spend a few weeks for a full-fledged review.

Features

The Nautical consists of a 4-inch driver wrapped with either brown or black leather. It uses the original Trinity Engine Series single driver design, now termed the Alpair 7 Gen. 3. This high-performance, single driver has an advanced damping system. It is claimed to deliver a “near flat” response across its range. Useable frequency response in a box speaker design with this driver can achieve 40 Hz to 32 kHz frequency response with SPL in the mid-to-upper 85 dB range.

The driver also employs a rear ring, clamped suspension system and a new torque loaded rear suspension (spider). Both of these components add pre-tension to the power-train. These features are said to improve linearity and damping on the moving components, which nets out a very clean delivery of mid/upper bass and the critical midrange frequencies.

A lot of sound from Alp7 Gen. 3 single-driver

In the Nautical's — without subwoofer reinforcement — my measured low-end response was -3 dB at 70 Hz, with the speakers free standing in the room and about -5 dB at 60. Still enough bass to make it acceptably full range with acoustic instruments. Adding a subwoofer can get you as much bass as you want to augment these dandy tripod-mounted speakers (More on that later).

According to Artisan Audio, the driver’s rear magnet cover can be removed. The cover's magnetic attraction keeps it attached to the main driver body. Simply pull it away from the driverʼs main body, no tools are needed to do this job. The ability to remove the cover helps speaker manufacturers who design shallow cabinets or wish to optimize internal box volumes. The performance change with the cover removed is small, so the installation choices for the end user is optimal. The frameʼs front cover is also made removable. This driver is used by several models in the Artisan Audio line, including a variety of its “box” speakers.

Love the natural-wood tripod option

As implemented in the Nautical's, the Alpair 7 is installed in a cylinder and wrapped in leather. The bottom of the cylinder has bolt slots so it can be mounted on the tripod. Artisan Audio offers two tripod options. The costlier choice is a special, high-end, all-wood, nautical camera tripod, at $600 each. These really are quite attractive, and, to my eyes, showcase the Nautical’s in their best visual light. Tripod option B is a pair of high-quality, painted-black tripods that are $300 for the pair. The lower-cost tripod is just as effective a mount as the high-end tripod and is half the price. However, I think the Nautical visual impression is at its most impressive via the wood tripods.

It is easy to set up the Nautical's. Attach them to the top of the tripods and adjust the height level via the lock knobs on the tripod legs to where it corresponds best to your listening position. The leather pouches can be filled with sand, which provides a stable, acoustically dead way to display.

The setup

Initially, I installed the Nautical's upstairs in my main living room with real oak hardwood floors. I spread them 7 feet apart and listened to them at about 10 feet to the listener position. I set their height at ear height. The speakers were about six feet from side walls and six feet from the rear wall. Because the bass is minimal without a sub, I eventually moved them to within a foot of the back wall to get as much linear bass out of the Nautical's as possible. With my RTA and warble test tones, I had fairly tight response to 70 Hz, but it fell off quickly below that point.

Nautical closeup

I ultimately brought a subwoofer, an Episode Triple 10, a great powered sub I reviewed a couple of years ago, featuring an active 10-inch driver and two passive radiators. The powered sub has a lot of features, including speaker hi-pass and adjustable crossover. I adapted it into the system via speaker output, setting the crossover at 80 Hz. That setup really made the Nautical's a full-range system. Artisan Audio said it is planning a matching subwoofer for the Nautical's, but so far nothing in the catalog.

The primary playback system consisted of a Pass Labs X30.5 Class A Supersymmetry MOSFET amplifier, Benchmark DAC2-DX DAC/preamp with variable line output. and an Oppo BDP-105 universal player. I used Wireworld Eclipse cables for analog and speaker connections, and connected all the AC cable devices with Essential Sound Products Essence II Reference cables, all terminated into an Essence Reference II power strip.

The audition

First, up was the one of my favorite acoustic guitar SACD’s, Gene Bertoncini — Body and Soul, an open, detailed, nylon-string guitar album full of jazz standards — all done in DSD. I often use this recording to listen to a speaker’s dynamic range, timbral accuracy, etc. From the first note, I could tell the Nautical's were serious speakers. Great articulation on the guitar string plucks and imaging was very wide — with good front to back depth cues. Without the sub, the bass was a bit lean, but it still managed to have decent bottom end. When I set up the Episode sub, the extra bottom end bloom of Mr. Bertoncini’s acoustic got a bit more prominent, more like a full range classical should be.

On the Tom Jung-recorded Warren Bernhardt — So Real SACD., another recording I use for reference. the Artisan Audio Nautical's projected the “So Real" cut with vibrant energy, a quick and spacious presentation of the drum cymbal sheen and Steinway piano.

On the Tom Jung-recorded Warren Bernhardt— So Real SACD, another recording I use for reference. the Artisan Audio Nautical's projected the “So Real"cut with vibrant energy, a quick and spacious presentation of the drum cymbal sheen and Steinway piano. Unsubwoofered, the 4-inch round Natural’s, did not get all the electric bass or drum kit toms, but adding the Episode Triple 10 gave the full bottom spectrum of the recording. Shy-bass notwithstanding, this single driver is impressive in its precision of the upper bass, critical midrange and transient top-end character. And it sounds clean. The speakers are not the most sensitive, about 86 dB at 1 watt, 1 meter, but most amps will be able to power them to satisfying levels.

For a vocal, I listened to Judy Collins' new hi-res recording Strangers Again. With the sub connected, the system really meshed. Ms. Collin's ageless voice sounded up front, yet smooth with no strident aberrations or excessive sibilance. Her co-vocalists and the impeccable hi-resolution recording, by noted pro engineer Alan Silverman, all made for a satisfying listening experience. Plus, as the music plays, you get to look at the classy, high-end tripod speaker system well placed there in your room.

The verdict

With all the “me-too” products in the hi-fi world, it is great to see that Artisan Audio has come out with atypical, single-driver speakers that can complete in a world of two-ways, three-ways and more exotic technologies, such as electrostatics and planars.

By themselves, the Nautical's are not as full range as some of Artisan Audio’s other “box” speakers (I have one of the other models in for review), but the high-optioned tripod mount puts it in another category when it comes to its architectural appeal; they look really classy. The wife may be much more inclined to let you put ‘em in the living room. The whole system with the wooden tripods is about $3,000, but it is so cool looking!

By themselves, the Nautical’s have a phase-accurate stereo image, a smooth midrange and present treble that is pretty accurate. On acoustic instruments, there is enough bass to listen to guitar, solo violin, spinet piano, horns, etc. If you combine it with a quality small sub that reaches down to 40 Hz, then you have a really cool-looking, great sounding speaker system. I am giving the Nautical’s an Everything Audio NetworkStellar Sound Award.

Headphones for home recording and audiophile use

Brevis

Price: $299/$249

Likes: accurate audio, price

Dislikes: MSR7's long-term comfort

Wow Factor: best buy HP's from AT

More Info: AT Headphones

by Russ Long

Audio Technica’s recently released ATH-M70x & ATH-MSR7 closed-back headphones are beautifully designed, competitively priced and sonically optimized for high-resolution music. This makes them good options for audiophiles, recording engineers and audio enthusiasts in need of a headphone upgrade or listening option. Both models have an input impedance of 35 ohms, a 5 Hz – 40 kHz frequency response and are equipped with proprietary 45-mm drivers.

While both offer astounding sonic performance, they were designed for two separate markets. The rugged construction, protective carry case and 90° swiveling earpieces of the M70x (street price $299) perfectly suit the rigors of the studio or touring musician/engineer. In addition to listening for pleasure, this model is perfectly suited for mixing, tracking and other monitoring tasks. The MSR7 (street price $249.95) tailors to the discriminating, music-loving listener who greatly values a product’s aesthetics in addition to comfort and sound quality.

I’ve been a fan of the ATH-M50 since they came out in 2009. The headphones have become a staple in recording studios around the world because of their quality sound, isolation, and durability. While the ATH-M70x, Audio Technica’s new flagship M-Series headphones, visually resembles the M50x (the current M50 model), it is, sonically, a different beast; in my opinion, it’s a significant improvement over the already wonderful M50x.

ATH-M70x

The professional-niched M70x was designed for accurate, full-range audio monitoring (hi-res), but also does an impressive job of isolating the listener from outside noise. Since they are designed for pro use, they are designed to stand up to the rigors of daily use, either in the studio or on the road, and they are intended to be comfortable for hours of continuous use as well. The robust build means that the pro and audiophile buyers will have a headphone that lasts for years.

ATH-M70X impressively balanced for the money

Like the M50x, the M70x comes in black and silver, but the M70x’s headband end pieces and earpiece mounts are metal — as opposed to plastic. This makes for a sleeker look, and I anticipate improved durability. The headphones include a robust, flat-black neoprene case that is imprinted with the Audio Technica logo.

I spent a significant amount of time traveling with the M70x. The case alone is a strong selling point for the headphones. Included in the case is a small, black plastic pouch that contains three, high-quality, locking headphone cables: 1.2-meter and 3-meter straight cables that terminate into 3.5-mm plugs and a 1.2-meter coiled cable that extends to 3 meters and terminates into a 3.5-mm plug that is threaded to attach to the included 3.5-mm to quarter-inch adapter. Identical to the M50x cables, all three utilize a twist-lock connection that mates with the M70x’s left earpiece, eliminating the chance of the cable falling out or accidentally getting pulled out.

In order to identify the headphones as a professional product rather than an iPhone accessory; the headphones don’t include a cable incorporating smartphone control.

The M70x has a completely neutral, low-end response that is controlled, musical and well defined. High-frequency reproduction is also balanced and smooth.

Original M50 users (myself included) found that the headphone ear pads and headband had a tendency to shed after a few years. I’m happy to report that both the ear pads and the headband of the M70x are replaceable. (A-T says that the ATH-M50x has improved ear pad and headphone material, compared to the older ATH-M50).

The M70x is extremely comfortable, even more so than the M50x. This appears to be primarily due to additional headband padding. The M70x’s ear pads are the same shape and size as the M50x and to me feel the same over my ears.

Sonically, while my M50 has a slight bass boost, this is not the case with the M70x, which to me has a completely neutral, low-end response that is controlled, musical and well defined. High-frequency reproduction is also balanced and smooth. There does seem to be a bit of brightness that comes into play when listening at louder volumes, but the headphones are extremely smooth and natural at normal monitoring levels.

ATH-MSR7

The ATH-MSR7 has a look similar to the M70x but with an overall sleeker, attractive design; like the cool cousin. There are two color options: black and gunmetal. The pair I reviewed had the gun metal finish and they are gorgeous. Nearly every time I wore them in public, someone would ask me what kind of headphones they were. That has never happened with any other headphone I have worn. The MSR7’s ear-pad openings, at 40mm x 60mm, are slightly larger than average. The ear cups are more plushy padded than those found on the M70x which adds to their comfort.

ATH-MSR7: a favorite for hi-res portable listening

I found the MSR7 to be much more forgiving headphone. Great sounding recordings sound great but not so great recordings are actually passable on the MSR7 — and will likely sound better than you’ve ever heard them before.

The headband is fully covered by protein leather and is padded all over with additional padding where the band touches the head. After three or more hours of listening, this padding becomes somewhat uncomfortable. Maybe in future versions of the headphone, AT will incorporate memory foam into the headband. Cable connectivity is on the left earpiece, which incorporates a recess around the opening (5.9mm diameter by 2.6mm depth) but with no locking mechanism.

The MSR7 has amazing high-frequency reproduction — with an exceptional transient response and impressive imaging. Bass response is smooth and natural with natural articulation. As with the M70x, there is no extra bass hype.

The cables include 1.2-meter and 3-meter straight cables and a 1.2-meter smartphone-compatible cable with in-line controls & mic. All three cables terminate into 3.5-mm plugs. The headphones include a padded drawstring bag and a 1/4" to 3.5-mm adapter. To accommodate storage in the bag, the headphone's earpieces rotate flat.

Though not as effective as the M70x, the MSR7 does a reasonable job of isolating the listener from outside noise, and the MSR7 has amazing high-frequency reproduction with an exceptional transient response and impressive imaging. Bass response is smooth and natural with exceptional articulation. As with the M70x, there is no extra bass hype.

Midrange response is clear and even and the high-frequency response is stunningly good. Honestly, the MSR7 is one of the few headphone in its price range that I’ve encountered that I would consider reference quality. I would consider reference quality.
I did the bulk of my listening through a TEAC HA-P90SD hi-res player and a Benchmark DAC-1, but I also spent ample time monitoring through an iPhone 6 and my MacBook Pro. As suspected, better-quality amplifiers yielded higher quality sound reproduction. I always preferred the sound of the HA-P90SD followed by the Benchmark DAC-1, but the iPhone and MacBook headphone amplifier had no problems reproducing good audio quality.

The audition
After a 60-hour burn-in on both sets of headphones, I spent significant time auditioning both pairs of headphones while listening to my tried and true staple of reference material. This included Elton John— Goodbye Yellow Brick Road, Pink Floyd— Dark Side of the Moon, James Taylor—JT, Before This World and Hourglass; Adele— 25, The Beatles— Sgt. Pepper and Love, The Beach Boys— Pet Sounds, Fleetwood Mac— Rumours, Daft Punk— Random Access Memories, and the Nashville Symphony Orchestra’— Paulus: Three Places of Enlightenment, Veil of Tears /Grand Concerto.

I can’t emphasize enough how good the sonic quality is through these headphones — way above their price points. The M70x’s signature is more analytical — with an extreme amount of detail. This is the pair of headphones I’d select to use for professional work. They aren’t forgiving so you know exactly where you stand. If you are in a situation where you have to mix on headphones, the M70x won’t trick you into thinking your mix is finished before it actually is. Great sounding recordings are a pleasure to listen to on the M70x but poor sounding recordings sound bad.

The verdict

In contrast, I found the MSR7 to be much more forgiving headphone. Great sounding recordings sound great but not so great recordings are actually passable on the MSR7 — and will likely sound better than you’ve ever heard them before. These are an ideal option for high-quality recreational listening and have quickly become my go-to headphone for hi-res on the go.

The Audio Technica ATH-M70x and the ATH-MSR7 both provide pristine sound reproduction, exceptional imaging and detail, and remarkable external noise reduction through the close-back design, all the while providing a comfortable listening experience. Although the ATH-M70X is a pro-marketed headphone, audiophile can easily obtain them via online resellers. Accuracy headphone buffs will be impressed by the ultra detail. But the ATH-MSR7 is a good choice as well. Especially for the on-the-go types who like their sonics real. You truly can’t go wrong with either model, and they both get the Everything Audio Network Stellar Sound Award.
An avid home theater and audiophile listener, Russ Long makes his living as a Nashville-based professional audio engineer, who has recorded hundreds of albums for various artists, including Grammy Award winner Sixpence None The Richer. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Pro Pedigree Transfers to Prism Audiophile DAC

by John Gatski
I have been reviewing Prism Sound professional audio products since the early 1990s. The UK-based audio manufacturer has produced highly regarded, high-end analog and digital products over the years — from its premium analog MASLEQ mastering EQ to the various multichannel A/D-D/A converters. Your studio had to have some coin to afford Prism, but the engineers always say it was worth the investment

In recent years, products such as the Firewire-based Orpheus recording interface, as well as a series of USB-connected recording products, have put Prism squarely in the forefront of serious home recording quality, maintaining a sonic edge. And all the while , Prism continued to manufacture in Merry Ole England..

Knowing this history, I was quite pleased when Prism President Graham Boswell showed me his company’s first audiophile DAC — at the 2016 CES in Las Vegas. The working prototype, called Callia, sounded quite detailed and resolute, and it was predicted to come in well under $3,000.

Based on a few days of testing and use, this First Listen preview gives an overview of the Callia, as well as a bit of hands-on time. I will author a more in-depth review at a later time, but readers will note that I am impressed by this DAC.

Features

The $2,595 Callia is loosely based on the Lyra USB recording interface I reviewed a couple of years ago — but without the A/D and the recording studio connectivity/virtual mixer of its pro brethren. The Callia features up to 32-bit integer, 384 sample rate PCM, and 1X-2X DSD via DoP. Bucking the ESS Sabre and AKM DAC chip bandwagon, Prism’s has implemented its favorite D/A chip, the Cirrus Logic CS4398, Prism adds a custom-designed, premium-part, analog stage for line out and HP; the DAC boasts a noise spec greater than -115 dB (20 Hz-20 kHz), according to Prism Sound’s specs.

Throw in 32-bit/384 sample rate capability, DSD playback, a great headphone amp and its under $3,000 price, and it becomes clear that the Callia meets the criteria for an Everything Audio Network Stellar Sound Award. That is Stellar with a capital S!

The sharp-looking Callia comes in a dark gray or black-finished anodized front panel, and is proportioned in a 3/4 width, one-rack space high chassis. The elegant-looking DAC is quite uncluttered on the front panel, with a large line-output volume control, a separate, smaller headphone volume control, the headphone jack and the standby/input selector switch.

A series of LEDs lights fleshes out the front panel including input indicators: (Auto, TOSLink SPDIF, RCA SPDIF and AES/EBU). The second bank of separate LEDs reveal the audio input status — a DSD LED and a PCM LED (via the word length 24-bit light LED). The DSD sample rate is indicated by either the non-illumination of the 2X light (2.8MHz) or the LED’s illumination, which indicates the 2X 2.8 MHz DSD sample rate — 5.6 MHz.

Bit/sample rate indicators
When playing PCM, the sample rate is indicated by illuminating either the 44.1 kHz or 48 kHz LED, plus either the 2X or 4X LED. Thus, 24/96 will be indicated by illumination of the 48K LED and the 2X LED, plus the 24-bit LED. With 24/192 material, the display shows the 48K LED, plus the 4X LED (48 x 4 equals 192) and the 24-bit LED. A 384 sample rate (a very rare recording indeed) is indicated via illumination of the 48K LED, the 4X LED, plus the 2X LED (48 x 4 equals 192, and192 x 2 equals 384).

Just enough I/O to make it a complete DAC/preamp

Real 32-bit integer audio (not 32-bit floating point) is indicated by the 24-bit LED glowing red instead of blue. When a 16-bit recording is played, the 24-bit light does not glow at all.

You have to do a bit of multiplication in your head to know exactly what sample rate you are playing beyond 44.1 and 48, but I am glad Prism included this info, especially the PCM word length indicator, I have been pushing DAC manufacturers for the past eight years to include that feature, and now many of the major DACs have it.

The back panel

On the back panel, the Callia sports a set of balanced XLR line outputs, a pair of unbalanced RCA line outputs and four digital inputs (SPDIF TOSlink, SPDIF RCA, AES/EBU XLR and USB 2.0). The 32-bit PCM audio path and and sample rates higher than 192 are only active via the USB input. Thus, computer players, such as Audirvana, JRiver, VOX, etc, are needed to play the ultra-res music.

Callia’s rear panel also features a series of small DIP switches that allow tailoring the gain of the headphone amp for those HPs that need a bit more grunt to make ‘em loud enough. I left it in the stock position, which was plenty of gain for the AKG K812 and the Oppo planar magnetic PM-1 headphones I used for the listening sessions.

Listening impressions

My early-bird sample Callia came with no remote control (they don’t come with one apparently), but it was easy to set up. It was plug and play with my Apple Macbook Pro using the included USB cable, as well as external sources via the SPDIF connections. I connected the Callia to the Apple laptop and commenced playing. I connected the DAC;s XLR line outputs to a Pass Labs X350.8 amplifier, which drove my MartinLogan Montis loudspeaker. I also listened to various bits of hi-res music via headphones. Having heard the prototype at CES and having reviewed the Prism recording interfaces that utilize the same DAC chip, I was sure that I would like the sound of the Callia in my various set ups. My assumption was quite correct.

When playing a PCM 24/192 copy of the Tom Jung-recorded Warren Bernhardt — So Real SACD album, I was very impressed with Callia’s accuracy. Through my AKG K812 headphones, the "Autumn Leaves" track was transmitted from the DAC HP output with a smooth, precise transient character with a detailed, percussive soundstage The Steinway piano was spot on —without any audio grit when listening to the high-amplitude, upper-register piano notes. Prism’s Boswell said the analog signal path design must match the crucial stages of the D/A circuit — in order to get the best sound from a DAC. I have to agree; the Prism DAC is the best-sounding, Cirrus D/A chip-equipped audio DAC that I have ever auditioned!

Everything sounds brilliant
My positive impression never wavered — no matter what kind of music I threw at it. A test DSD piano recording from seven years ago, done by Tom Jung who used the incredible Joe Grado HM-P1 omni microphones, — showcased the Prism DAC’s ability to squeeze out every bit of nuance from the piano/room sound.

Prism’s Boswell said the analog signal path design must match the crucial stages of the D/A circuit — in order to get the best sound from a DAC. I have to agree; the Prism DAC is the best-sounding, Cirrus D/A chip-equipped audio DAC that I have ever auditioned!

The DSD version of James Taylor— JT album showed that the DAC is not just for Classical and Jazz lovers. Pop and Rock sounded good as well. The deep layer of instrumentation on JT’s “Handyman” (strings, Fender Rhodes piano, double-tracked backing vocals and crisp percussion) are delivered as good as DAC’s two to three times the price.

I also played 2L 24/352 (DXD) Classical recordings and my own high-sample rate recordings, made at 24/384, to test the Callia’s ultra hi-res playback capability. Using Audirvana from the Mac, the Callia had no problem decoding the files. I even played a 32-bit integer file (a 24-bit audio file up converted to 32 bit by padding it with extra 0’s) to see if the DAC could detect the 32-bit audio file from the Mac laptop. It did, indicating 32-bit by turning the 24-bit light from blue to red — just like it should. This was done via USB from the Mac, again using Audirvana as the player

More to come

This first listen/look at the Prism Sound Callia is just a sampling of the in-depth review process that it will undergo over the next few weeks, including some in-depth measurements from our bench tester Bascom King. But just from these initial listening sessions, the Callia is as good as I expected. And the HP amp is better than I expected — since I had not listened to the circuit via my own phones at CES. The HP amp ranks up there with other top-notch DACs, such as the Benchmark, Mytek and Oppo HA-1

From my brief, few days of listening, my initial impressions are that the Callia is a classy, open, detailed-sounding DAC with plenty of width and depth in the stereo presentation. Throw in 32-bit/384 sample rate capability, DSD playback, a great headphone amp and its under $3,000 price, and it becomes clear that the Callia meets the criteria for an Everything Audio Network Stellar Sound Award. That is Stellar with a capital S! Click Callia for more info.

John Gatski is publisher/editor of Everything Audio Network. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. ©Everything Audio Network

Brevis...

Price: $3,995

Likes: low-end power, classy look

Dislikes: grill needs stronger magnets

Wow factor: it will wow you!
More info: Prestige 2000SW

by John Gatski

Paradigm has always built impressive subwoofers — from the budget priced to the high-end, ultra low-bass producing models. I owned the late 1990’s Servo 15, and I currently use the Sub 15 as a reference; EAN writer Tom Jung also reviewed the incredible, multi-driver Sub 1 a few years ago.

The new Prestige 15 SW200 reviewed here is completely inline with the top-tier subwoofer niche Paradigm has created for itself. As the replacement for the Sub 15, and a thunderous bass compatriot to the various Prestige line speakers, this sub kicks out some serious oomph. Unless your system is in a huge room, one of these 2000SW’s is all you will even need to plumb the depths of movie soundtracks and bass-intensive music.

Features

The Prestige 2000SW is a large, single-driver subwoofer with a sealed, acoustic suspension cabinet and a 15-inch (38.1cm) X-PAL™ driver — Paradigm’s overmolded Active Ridge Technology (ARTTM) surround and 3-inch high-temp voice coil. It appears similar to my woofer in the Pro 15, but the SW’s cabinet is larger (22.25-inches wide × 21.75 front-to-back × 20.25-inches tall). The sub weighs 121 pounds.

The other significant difference is the 2,000-watt RMS Class-D amp, which can deliver low-end power to pain inducing levels to well below 20 Hz. In fact, this sub is rated to 16 Hz, though I did not have a calibrated test mic that was rated for under 20 Hz. My mic is rated for flat measurement to 20 Hz, and 20 Hz tones could be played through the 2000SW at 100 dB without audible distortion (except for the ringing distortion in your ears if you test without hearing protection).

Paradigm Prestige 2000SW Everything Audio Network

The convenience of front-mounted SW controls

Unlike many subwoofers, the 2000SW’s controls are on the front, including the level, phase, crossover adjustment and power switch Back-panel features include XLR balanced input, L/R RCA inputs and input for PBK, The 2000SW comes in gloss piano black, midnight cherry, a walnut and black walnut. It is a great-looking sub that compliments the Prestige line, which includes the Model 15B stand speaker I reviewed last year, and various other floor-standing tower and center channel speakers. A smaller subwoofer, the 1000SW, also is in the Prestige line.

Get perfect bass

As with other Paradigm products, the owner can enable the Paradigm Perfect Bass Kit to “perfectly” match the subwoofer to the room via DSP. Having used the PBK on several reviews, including my reference Sub 15, I have found that the PBK is one of the most honest DSP compensation systems in the audio biz. Though Windows only, running the program is easy, and it can significantly tighten your sub’s performance.

Paradigm’s Prestige 2000SW is an awe-inducing, powered subwoofer that can handle the depths of most any movie sound effect, but it is equally adept at transmitting the proper bass frequencies from your favorite hi-res music. From Rock to Classical to bombastic action flicks, I do not see how you could do any better in the bass department.

You simply set up the computer, plug in the USB mic to the computer, run the program and click the mouse. Via the computer, the system outputs bass tones and the mic reads the room. The readings are calculated and compensating EQ is applied to the bass to flatten it for the given room. If you have significant problems with boomy bass, the PBK can cure it without expensive room treatment.

Since my tile-over-concrete, basement home theater room response has an almost flat response, the PBK did not change it much, but it is nice to know that the system can help if needed.

The setup

I set up the sub to the left side of the home cinema room half way between the front speakers and the listening position. My 5.1 reference system consists of a professional Westlake LC2.65 center channel, two Westlake Pro LC8.1 L/R speakers, and two NHT Ones for the rear channels. The rest of the test reference system included an AudioControl AVR-4receiver (one of the most transparent receivers I have ever auditioned), and Oppo BDP-105 and Pioneer Elite Blu-ray players.

Speaker cables were Wireworld Eclipse, as were the HDMI cables that fed the receiver and the Sony full-array backlit, 60-inch LED monitor. All AC cables were plugged into an Essential Sound Products Essence power strip.

The Prestige 2000SW is attractive in any finish

My initial measurements revealed an excellent, in-room response — based on my PBK analysis and a conforming analysis with my own professional real time analyzer (RTA). With test tones, my overall measurable speaker bass performance, using the sub’s crossover was within 3 dB from 150 Hz to 20 Hz, the extent of my measurement microphone.

I know the 2000SW can put out loads more response under 20 Hz, I just could not accurately measure it. I had a 16-Hz tone on a test BD that I played. Well-below 20 Hz energy is not directly audible to the human ear, but the ultra low-bass room 16-Hz tone was quite impactful on room vibration, generating an amply rattled window from the second floor and coat hangers shaking in a first-floor closet.

My 20-Hz warble tones could easily be played to 100 dB, and I could hear a good bit of it — as well as accurately measure it. Suffice it to say that the Paradigm Prestige 2000SW is a major-league subwoofer that can push clean, high-level bass from well under 20 Hz to the crossover point. It is significantly louder at 20 Hz than the old Sub 15, thanks to a bigger box and much more horsepower.

The audition

Once everything was calibrated, I grabbed a stack of bass-intensive Blu-rays and commenced listening to the multichannel system, with the Prestige 2000SW as its anchor.

First up, the Jack Ryan-reboot action yarn The Sum of All Fears. As mentioned in previous reviews, this movie has a nuclear dirty bomb explosion that plumbs the depths of the audible and subsonic bass spectrum. A quality sub will give you a whack in the chest followed by several seconds of room-rattle inducing bass that is akin to a real cannon shot. The Prestige Sub relayed the explosion with a force that I seldom have heard with a single-driver subwoofer. Much more floor and wall vibration.

No sonic strain with Prestige's 2kW amplifier on duty

In comparison, the previous model, the Sub 15, can produce the essential sonic tones and the audible effects fairly close to the 2000SW, but not as much of the subsonic effects. Room noises that I never heard before could be heard with the Prestige firing full force. This is some subwoofer! I heard the same results from the U571 Blu-ray, the submarine thriller from 2000. Again, the Prestige 2000SW delivered the rapid-fire, depth-charge explosions’ bass with a brute force that was so relentless, I was glad when the sequence was over; the bass literally wore me out.

On the 2015 movie, San Andreas— an earthquake hits the West Coast action yarn starring the Rock — the earthquake audio scenes were produced with a high-impact, rumble intensity that continuously vibrated my listening chair. At the 95 dB+ levels, the sub never hinted at any strain or audible distortion. A couple kW of power and a precision, beefy, 15-inch driver keeps this 2000SW clean — real clean.

Musical bass

Thunderous movie bass has its place, but what about music? An accurate subwoofer also should complete the musical spectrum with a non-hyped, bottom end that augments the musical performance. And the Prestige 2000SW handles music just fine, thank you.

On the anniversary re-recording of the Telarc Tchaikovsky 1812 Overture Surround SACD, the tympani rolls and the cannon shots plumbed the depths of this famous orchestral performance. The cannon shots are a lot cleaner in this version, versus than the original 1978 recording, and I could feel those blasts right in the gut — without hearing any out-of-control artifacts.

On The Mercury Living Presence The Complete Bach Cello Suites - Janos Starker SACD, the sub augmented the instrument’s gentle low-end to remind you of how it sounds sitting in front of a performance of this grand stringed instrument. Though it is a 15-inch sub, not a duo of 12’s, I never got the sense that the 2000SW exhibits any slow response character. Percussive blasts of bass were tight and fast on most any kind of music. On a Pentatone surround SACD of classical organ, I really got to feel the force of the huge pipe organ feeding through my system. You could feel the bass, as well as hear it.

I heard the same results from the U571 Blu-ray, the submarine thriller from 2000. Again, the Prestige 2000SW delivered the rapid-fire, depth-charge explosions’ bass with a brute force that was so relentless, I was glad when the sequence was over; the bass literally wore me out.

I even had the sub in action during the several vinyl playing sessions (with a Sorbothane isolation base to reduce potential feedback). On the direct-to-disc Cadillac Mack and The Detroit 4 record, circa 1978, Vishnu Wood’s upright bass is deep, plump and quite intimate in the piano/drums/bass/trombone recording. The 2000SW gave the jazz combo’s sound an added girth (compared to my Westlake stand speakers straight up) to reflect the actual tonal balance of the recording — with being overly bloated. Who says records can’t have some low end.

Overall, I did not have any performance complaints with the Prestige 2000SW. It is not the cheapest high-end sub, but not the most expensive either. Considering its versatility and major-league bass production, it may be somewhat of a high-end bargain.

The only complaint I had was an ergonomic anomaly. The magnetically-attached front grill would sometimes slide down the front panel during bass intensive movie soundtracks. On its short slide down the panel, the grill touched the front-mounted volume control and turned down the level. I ended up putting two temporary pieces of Velcro, just underneath the two bottom grill magnet positions on the cabinet front. That fixed the ole grill slide. Might need stronger magnets.

The verdict

For those who like to maintain brand consistency, the Prestige 2000SW is a perfect, low-frequency mate to the various standalone speakers in the aforementioned Prestige line. The black piano lacquer finished version sent to me was gorgeous, and is sure to match whatever speakers you mate to it. Overall, Paradigm’s Prestige 2000SW is an awe-inducing, powered subwoofer that can handle the depths of most any movie sound effect, but it is also equally adept at transmitting the proper bass frequencies from your favorite hi-res music. From Rock to Classical to bombastic action flicks, I do not see how you could do any better in the bass department. An Everything Audio NetworkStellar Sound Award for the Paradigm Prestige 2000SW.
John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

©Everything Audio Network

Washington, DC — Introducing a membership organization for like-minded, high-quality audio enthusiasts in the DC-MD-VA region. Newly formed by longtime audiophile/pro audio equipment reviewer (and Everything Audio Network Publisher) John Gatski, the DC Hi-FiGroup was created for those who are passionate about high-end audio equipment and the best quality in music playback. The DC Hi-Fi Group members are serious hobbyists and audio obsessives who focus on audiophile stereo/surround gear, hi-resolution streaming/playback, premium vinyl playback and home-recording.

“I have lived and worked in the Washington, DC area since the 1980’s and have met a lot of fellow audiophiles,” Gatski said. “I thought it would be appropriate to have an organization for like-minded audio people from our area — to get together and champion the cause of hi-fi gear and high-quality music.”

The DC Hi-Fi Group will hold regular events including monthly meetings/listening sessions, manufacturer/dealer demonstrations, featured audio-related speakers and attendance at live music concerts. The DC Hi-Fi Group will also hold summer and winter get-togethers, as well as receive special invitations to audio trade shows.

The DC Hi-FiGroup will begin its monthly meetings this Fall. The annual member dues for individuals are $80. For more information, contact John Gatski at dchifigroup@verizon.net.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

There's A New Channel Strip In Town!

Brevis

Price: $2,249
Likes: expresssive mic pre, EQ, DI

Dislikes: you need two for stereo use

Wow Factor: D. W. Fearn tone in 2RU

More Info: Hazelrigg VLC-1

by Chibon Littlefield

Few companies can boast they are direct descendants of one the world's most coveted rline of tube recording equipment, yet that is exactly what Hazelrigg Industries' new microphone preamp is. Brothers George and Geoff Hazelrigg, founded the company after Geoff spent six years working with legendary manufacturer D.W. Fearn, who produces some of the best sounding pro tube gear.

It turned out that the brothers and Doug Fearn had similar philosophies and a partnership was fostered with Doug Fearn entrusting his coveted VT-1 (Vacuum Tube Microphone Preamplifier) design to the brothers through an exclusive license. Thus was born the Hazelrigg VLC-1 and the opportunity for a new generation to discover what has been described as the Rolls Royce of studio equipment.

A little   history 
George and Geoff Hazelrigg have been professional musicians and engineer/producers for more than a decade. George went to school for recording in New York City learning on MCI consoles and Studer tape machines. After returning from school, George and his brother Geoff started their own “gorilla” recording studio.

In time, they developed a passion for vintage recording gear. Out of necessity Geoff learned DIY electrical engineering to maintain and repair the classic gear. Soon they were selling off one piece at a time of equipment to finance building two of their own. One day after a jam session, a friend told Geoff he should link up with D.W. Fearn. Luckily, the timing worked out and soon Geoff was working alongside Doug Fearn.

The Hazelrigg VLC-1 is a world-class channel strip that makes it easy to capture and shape any source, but it also has a flexibility that allows for fast-paced work flows, allowing the user to have confidence in on-the-fly decisions. In a short time, Hazelrigg has already delivered dozens of VLC-1’s to engineers and studios around the world.

Unexpectedly, George, Geoff and Doug had a lot in common. All three are lifelong pilots and aviation enthusiasts. Their relationship grew from there. George recalls, "Hanging out with Doug is like hanging out with George Martin. He hears things, and he'll ask what you hear. He made us aware of what bad solid-state sounds like. Once you hear what it does to sound, you hear it on everything! You can get away with it on two-tracks, but it adds up in a mix, then out come the digital EQs. You start sweeping frequencies to cut out the problems.”

Geoff adds, "We have a similar philosophy to D.W. Fearn in the sense to always get the best sound quality. And it’s about handling the dynamic energy. And with the Fearn stuff you get all the peaks; you can capture all the information. There are no induced third order harmonics from OpAmps or FETs. That's what Doug really made us hear, all the third order harmonics."

The D.W. Fearn equipment has a particular demographic; high-end studios and established artists and producers. Each piece is hand built, made to order out of many custom parts and heavy rock solid milled chassis. The quality is second to none and the price reflects this.

Mastering Engineer Dale Becker with VLC-1

The brothers, on the other hand, are gorilla engineers trying to compete with bigger budgets, which represent the state of the recording industry. The newest generation of professionals are often at a disadvantage to their older peers in terms of high-quality, cost-prohibitive equipment — vintage or otherwise.

George and Geoff wanted to build something for their fellow producers and engineers. They struck an agreement with Doug Fearn to license the VT Series tube preamplifier and power supply designs. They would maintain all the quality but reduce manufacturing costs. By combining efficient assembly, circuit boards, Laser CNC metal work, smaller lighter chassis, and direct sales with no dealer network; the Hazelrigg brothers have re-imagined a modern channel strip that fits perfectly into the modern minimalistic work flow.

 Features 
Hazelrigg Industries VLC-1 is a tube microphone preamp, DI, line-driver and passive equalizer. The Class A tube topology features one 12AY7 tube per channel, transformer-coupled inputs and outputs; the EQ features custom inductors. Front panel controls are laid out in a clean, linear fashion. From left to right: Gain, Input Select, Locking 48V Phantom Power Safety Switch, -20 dB Pad, Phase reverse, EQ In/Out, and EQ Controls.
The EQ controls are divided into four bands (Low Cut, Low Boost, High Boost, High Cut), each with two frequency options. The shelves for boosting and cutting can be combined for flexible tone shaping. For added convenience there is a front panel Neutrik connector for mic/DI input. The rear panel has discrete Line and Microphone XLR inputs and a single XLR output. Built in a 2U rack chassis construction is solid and well built but not monstrously heavy as the comparable Fearn VT-1.   

Set up 
When I unpacked the flight case containing a stereo pair of VLC-1’s, I quickly toured the front and rear panels to see what I was working with. I immediately noticed the EQ section and line-input switch, then I knew I wanted to try this on my 2-bus. I took the outputs of a Trident (Oram) 16t into the VLC's Line input which fed the analog-to-digital converters of my Mytek 8x192. I used the main outs as opposed to the inserts because there is no bypass for the VLC-1 (not the biggest deal); this way I could monitor my master fader without the VLC's then flip to the 2-track return and listen to the tube line driver and EQ. This also allowed me to flip to microphone or DI and record into the same channels I would print my mix. This took some getting used to but ultimately proved to be handy in time saving workflow.

 The audition: mic input

Setting up for a female vocal, I brought out my trusty Microtech Gefell um92.1s, a German large diaphragm tube condenser. It's very clean and true especially in the upper midrange and sibilance. I usually use the preamps on my console, but use additional outboard EQ and compression to achieve the sound I'm after. Pairing the Microtech with the Hazelrigg was immediately striking.

While I’m familiar with the vocalist and microphone, the sound I heard using the VLC-1 resulted in a more natural, detailed, lifelike audio. The quiet was quieter and the ambient space more revealing. I felt like I was hearing the microphone, simultaneously, free and controlled.

While I’m familiar with the vocalist and microphone, the sound I heard using the VLC-1 resulted in a more-natural, detailed, lifelike audio. The quiet was quieter, and the ambient space more revealing. I felt like I was hearing the microphone, simultaneously free and controlled.

I could hear more of the subtle dynamics (lip sounds, vibrato, breath, and gliss), but it was also held together, as if I had a very clean compressor though there was none. Switching in the EQ with all the knobs down, technically flat, added a dimensionality to the sound that I could only describe as holographic.

With the Low Cut band in the low frequency position, I rolled off rumble but left the meat of the vocal intact. Pushing the Low Boost in the high frequency position, I added less than a quarter turn to get a little push and fullness without adding boominess. Finally, I used the High Boost in the High frequency position and “opened” up the top end. A little less than a half turn and the air came into the performance without getting biting or too ess-y.
Bypassing the EQ was interesting because it felt so much the same just less exciting but not dull. Re-engaging the EQ still felt natural and smooth but better and sat right in the mix. After we finished tracking my vocalist said it was easier to pull away from the mic than usual, I can only attribute this to the VLC-1.

The VLC-1 is a fitting addition to any recording ring

Later in the session, while working the new accompaniment into a verse section the vocalist was inspired and wanted to grab an idea she was hearing in her head. I always keep a handheld mic at the ready for these kinds of situations. This time I plugged it straight into the front panel of the VLC-1 and got a new track recording.

As she started singing, I pulled up the gain into the mix coming off my nearfield monitors. Once I got levels I flipped on the EQ and dialed in a sound. In less than 30 seconds, I had one of the best tones I've ever gotten out of the hand held mic! Later my singer would say, "it turned our jamming into a final cut and worked as a catalyst."

As an engineer and gear geek, I am used to my clients unaware of what technology goes into achieving a good recording. The goal of recording is to get out of the way of the talent, so if they don't notice the process and can focus on making great music, that's perfect. But if they notice and respond to the process and feel inspired that's something special indeed.

The audition: DI input

The tube DI is tremendously clean, a sound and feel that is uncommon in the world of DI's. I'm used to plugging my guitar and bass into amps and even very good DI's and getting a sympathetic response from the circuit. This feeling affects my playing and timing; a listener may or may not notice the differences, but a player definitely does. The VLC-1 DI has the unique character of having almost no character at all.

I say almost because the transparency has just a touch of warmth and “pillowy-ness” to it. Imagine standing in front of a vast, wilderness landscape and now imagine an Ansel Adams photograph of the same view. Reality is real, but the photo has all the detail but also a texture that transforms the reality into art.

The tube DI is tremendously clean. I'm used to plugging my guitar and bass into amps and even very good DI's and getting a sympathetic response from the circuit. This feeling affects my playing and timing; a listener may or may not notice the differences, but a player definitely does. The VLC-1 DI has the unique character of having almost no character at all.

The VLC-1 translates all the dynamics, and I mean all the dynamics, of playing a magnetic pickup instrument. The tiny finger noises and string clicks to the rattling and hard pick hits of really digging in. Sloppier players will suffer, but technical touch oriented players will shine. I'm certain if I played day in and day out through such a revealing sound, I would become a better player.

I found it easier to edit together a bass part that was tight and clean. Instead of scrutinizing okay parts and good parts, the good parts were great and the okay parts felt sloppy. What I especially appreciated was how the DI handled big chords. Each note had its own size and depth while still gluing together in a musical fashion.

Mentioning my experience to George Hazelrigg, he said, "Anything that we plug into the DI instantly changes how the instrument feels — even with a keyboard. You instantly feel more connected to the instrument, the tops of the keys feel more immediate." I agree one hundred percent.

The audition: line input

I started bussing out my mix from Steinberg’s Nuendo 7. I assigned 16 outputs from my Mytek 8x192 converters into the tape returns of the Trident 16t. I monitored and got a mix going listening to the main outs without the VLC’s in signal. Once I got a good rough mix in place, I flipped over to my two-track return and started dialing in the Hazelrigg’s line stage. Before I started listening I started with all switches down (these are the default settings) and had the gain at -∞. Since the line gain is set with a potentiometer, I metered my levels with mono material (i.e. kick, snare, bass).

As I pulled the mix in, I noticed how hot the signals got with less than a ¼ turn of the gain knob. A quick consult of the manual revealed a suggestion to engage the pad for line-level sources. Flipping the pads on for both units I could then dial the gain almost to max to get my digital input meters averaging around -10. Once I was level matched and felt confident in my headroom I brought in the rest of the mix and started to A/B.

Flipping my console back to direct monitoring and the two-track return, I could really hear an extra level of class and depth in the mix. The mix running through the VLC pair was still punchy, clear, and dynamic, but also more relaxed and lifelike. On the other hand, the dry outputs felt cold and less pleasing. Back to the two--track return, I heard the same mix held together and more evenly distributed across the sound stage.

That analog tube EQ

Next, I turned on the EQs with all boosts and cuts at zero. This was perhaps my favorite trick with the VLC-1 duo; I could immediately feel a more spacious holographic image. The sound stage got deeper while the center became more solid and forward. After, I turned up the Bass Boost and found that a little goes a long way. The shelves are very gentle and smooth. I wouldn’t use this EQ to get an aggressive bass hit. instead they shape what character is already there.

Switching between the two frequency choices which I can describe as heft (low) vs. boom (high). I settled for heft and then pulled a little low end back with the Low Cut in the Low frequency position.

A superb EQ section complements the mic pre and DI

Where the EQ really shined, of course was pushing the top end. It almost felt like there couldn’t be too much. I learned that the smoothness and clarity had to be just enough. Though I found it so pleasing to experience the open “airy” top I could also hear it affecting the balance of the mix more than being irritating and harsh. Switching the frequencies of high and low I could really hear the difference between the two. The high-frequency EQ boosted percussion, and the air of vocals and guitars, while the low frequency added upper midrange body to vocals, guitar, and snare.

Not wanting to disturb the midrange presentation, I stayed with the high-frequency boost. Now the interesting thing was using the High Cut didn’t dull the sound as much as it calmed or tempered the high end. I would even say it helped sweeten the mix giving it a polished controlled presentation. Bypassing the EQ was like deflating a balloon. And switching monitoring back to dry output was jarring to say the least. Going back to the two-track with the EQ engaged was like going from a demo to a final mix.

Geoff Hazelrigg said the EQ was designed with the "audible feel" in mind. “You can’t approach recording from such an analytical view. We decided not to publish the particular frequencies and we tuned it by ear. The slopes change as the bands interact. In fact, each band of the EQ is connected together more than four individual bands. We use custom inductors with two taps; we wind them by hand in house.”

The verdict

The debut release from Hazelrigg Industries continues the D.W. Fearn heritage. Just as D.W. Fearn furthered the classic RCA tube sound with his newer designs, the Hazelrigg brothers share an uncompromising approach to creating the highest quality audio recording tool. They also embrace modern approaches to further the capabilities and performance of their equipment.

The Hazelrigg VLC-1 is a world-class channel strip that makes it easy to capture and shape any source, but it also has a flexibility that allows for fast-paced work flows, allowing the user to have confidence in on-the-fly decisions. In a short time, Hazelrigg has already delivered dozens of VLC-1’s to engineers and studios around the world. Any studio would benefit from having these in their equipment arsenal, my studio included. The VLC-1 also gets the Everything Audio Network Stellar Sound Award in the home recording equipment category. We are very impressed with this channel strip.
Chibon Littlefield is a musician and recording engineer, based in NYC and Washington, DC. You will also catch him at audio trade shows as the busy demo guy for Mytek Digital. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

©Everything Audio Network

Brevis...

Price: $6,000

Likes: accuracy, speed, precision

Dislikes: $6,000 ain’t pocket change

Wow Factor: The “have-it-all” integrated
More Info: CODA CSiB

by John Gatski

CODA Technologies is one the best kept secret in Hi-Fi. With designers Doug Dale and Eric Lauchli at the helm, the company has been manufacturing pristine-sounding, transparent amplifiers and preamplifiers for more than 20 years. CODA has OEM’d for such prestigious companies as Legacy Audio and under their own CODA moniker. Based on my experience with CODA, including the two mid 1990’s-era high-current preamps and 200 watt amplifier I owned, I know how good these made-in-California hi-fi products are.

The $6,000 CSiB audiophile-caliber, integrated amplifier reviewed here has advanced my impression of CODA even further.

Features

The CODA CSiB is a 400-wpc Class A/B amp (8 ohms) combined with the preamp section out of the CODA 05X, which utilizes the PGA2310 digitally controlled analog attenuator. The C1SB incorporates the company’s CSX Precision Bias Class A/AB amplifier design, with discrete JFET differential input stage, VMOSFET voltage gain DC coupled to an ultra wide-band bipolar output stage.

The fully discrete amplifier FET differential input stage is DC-coupled to an ultra wide-band bipolar output stage with no overall feedbacks. The amp section operates in Class A to five watts.

If you like a no-compromise amp and preamp in one unit, and you like your power, clarity and dynamic bass impression on the real side. The CODA CSiB is definitely a high-end, integrated amplifier for your short list.

The preamplifier section is derived from the CODA 05X design, utilizing the PGA2310 digitally-controlled precision analog attenuator. Component upgrades include PRP audio resistors, Multicap capacitors, and high speed rectifiers for the preamp power supply. The design and parts list are impressive, and it shows in the integrated’s ultimate sonic presentation.

The front panel is unusual, among hi-fi integrated, in that it does not have any rotary potentiometers. All controls are push button, including the attenuator. The controls include level adjust, subwoofer output, tape monitor, input, and mode, which selects either both channels, or routing the right or left through the preamp output.

The main power switch is on the back, but the standby power on the front panel mutes the audio, via a bias interrupt, useful for making cable swaps without turning off the power supply. The volume output level is indicated via an LED that goes from 0 to 99 dB.

Plenty of I/O and a clean layout

The CSiB contains three pairs of unbalanced line inputs (Aux 1, Aux 2, Video), one pair of balanced inputs, a processor loop, stereo subwoofer output and a pair of RCA preamp outputs. Speakers inputs are single-wire binding posts for the left and right channels.

As I have come to expect from CODA, the specs are exemplary: up to 800 watts per channel into 4 ohms, signal to noise of at least -110 dB and distortion under .04 percent. Also, CODA really knows how to build a power supply. The CSiB features 80,000 uF of filter capacitance and a 3,000 vA transformer rating.

The CSiB has one horse of a power supply

The 3U high CSiB is compact for such a powerful integrated, but it is hefty in its weight: 55 pounds; the weight comes from the sturdy chassis, cover faceplate, the massive power supply and rear heatsink.

The CODA CSiB includes a really nice accessory remote control, but I never used it. With the amp’s location in my test rack and the integrated’s ease of use I never felt the need to use it. I just set the level manually. Other customers I am sure will make full use of the remote.

The set up

I installed the CSiB in my tester audiophile rig, which consisted of numerous components: an Oppo BDP-105 universal player, Oppo HA-1 D/A, Benchmark DAC 2 D/A, Mytek Manhattan D/A, a Teac UD-503 D/A, a Clear Audio Emotion turntable, a Rogue Audio RP-5 tube preamp, a 20-year old CODA preamp and a Pass Labs C10 preamp. For ultra-hi-res PCM playback through the system, I also used my home brew/budget-priced, high-performance music server — simply a Dell Venue 8 Android tablet, the USB Audio Player Pro Android player program, a USB hub and a few cables.

I had numerous amps on hand for comparison with the CSiB including: Bryston 14B SST-II bipolar output, Pass Labs X350.8MOSFET output. Most of my eval listening was done through my MartinLogan Montis electrostatics, but I also monitored via a pair of Legacy Studio HDs, stand speakers, Pass Labs SR-1 tower speakers, and a par of TAD Compact Reference 1 (TAD-CRMK2).

I connected the components with Wireworld Eclipse interconnects and speaker cables, as well as Essential Sound Products Essence II Reference power cables and passive power strip. I let the CSiB burn in for a few days before doing any serious listening.

The audition

With the ML Montis electrostatic wired to the CSiB I began a series of critical lis3ting sessions using hi-res jazz and classical music. First up was my reference Warren Bernhardt— So Real SACD, engineered by Tom Jung at the DMP label in early 2000. It did not take long for the CODA’s integrated-design qualities to shine through. The open sound stage, quick, taut powerful bass lines, the 3-D like transient cues from the piano and drum cymbals, immediately put this amp in the forefront of the best amplifiers out there on the market.

CODA amps have always trended toward the transparency side of the music. In fact, I owned a 200-wpc stereo amp that was Legacy labeled about 20 years ago that showed off its musical realism sonic properties back in the CD days. The newer generation of CODA amps, however, are even more transparent with tighter bass, less noise and impressive dynamics. Perfect for today’s best examples of hi-res recordings.

Although integrated are often seen as a compromise of two critical audio components, The CODA CSiB sound does not sound compromised to my ears. The open sound stage and the dynamic textures of jazz piano, and cymbals of the signature Warren Bernhardt cut, “So Real,” was up there with the best bipolar output amps I have ever heard.

Although integrated are often seen as a compromise of two critical audio components, The CODA CSiB sound does not sound compromised to my ears. The open sound stage and the dynamic textures of jazz piano, cymbals, of the signature Warren Bernhardt cut, “So Real,” was up there with the best bipolar output amps I have ever heard.

Compared to the Bryston 14B-SST2 (using Bryston BHA-1 HP amp's line output stage), the CSiB and the Bryston tandem were close in their signature transient speed and tight bass, but I thought the CSiB was a bit more spacious in the dynamic space impression. However, when I routed the CSiB preamp output signals through the 14B-SST2, the sonic difference gap closed.

Switching to Classical music, I sampled several cuts from the Ludwig Van Beethoven — “Complete Sonata for Piano and Violin,” Isabelle Van Kuelen and Hannes Minnaar (Challenge Classics). This very live and dynamic SACD is slightly warm, yet openly dynamic with lots of range. The violin tone with with all of its bow-to-string overtones is simply a joy to listen to as is the strong piano performance. I have heard it on a number of review set ups and my own reference system numerous times.

Everything Audio Network CODA CSiB Angle

The CODA CSiB will look great in your rack

The presentation through the CSiB was simply gorgeous — with just the right amount of warmness — yet the violin has this life-like sonic persona with out any stridency that often afflicts violin performances with lesser amps. And the CODA amp did not impart any slowness to the bass spectrum. The Steinway piano’s low end was very natural.

Versus some MOSFET and tube amps I have reviewed over the last two decades, the CODA audio signature is less veiled. The Beethoven’s recording’s piano room reverb is clearly audible through this amp — without being smothered. This caliber of amp begs you to listen deeper in to the mix. Versus the Pass X350.8 (one of the best stereo MOSFET amps on the market), the CODA met its match (and slightly exceeded) in the stereo image department. Yet the MOSFET design imparts a warmness tinge that the CODA does not. The CSiB exudes a dynamic character that is very honest.

I switched off to the Andrew Jones-designed TAD Compact Reference 1 (TAD-CRMK2) stand speakers that I had in for an upcoming review. These extraordinarily accurate speakers were a perfect match for the CODA. The speaker is very linear with its specially designed cabinet that minimizes any enclosure effects to give you a nearly perfect balance within its frequency response range. Couple the dynamics of such an open amp with a pair of high-end, equally dynamic speakers, and you have quite a combination.

In listening to the Frank Sinatra— No One Cares SACD, the lush orchestration and Sinatra‘s emotionally nuanced vocal were presented through the TAD/CODA tandem as good as I ever have heard the recording. It is impressive that this late 1950’s recording captured so much nuance of Mr. Sinatra vocal inflections and the understated power of the supporting orchestra. For those who like the sound of “thicker-sounding” tube amps, you owe it to yourself to hear the honesty of an amp like the CODA CSiB

Switching back to the ML’ electrostatics, I played some dense Pop hi-res music including the Jason Mraz— Love Is A Four Letter Word album, courtesy of an HD Tracks’ 24/96 download. The track “I Won’t Give Up” is very acoustic, but the chorus gets very loud. With some components, the loudness sounds hard, but the CODA has the dynamic power to handle the track level with out any strain.

In fact, this integrated is unlikely to ever run out of gas in most home listening rooms. 400 watts per channel at 8 ohms (or 800 watts into 4 ohms) is quite a lot of room-filling power. I connected the CODA integrated to the Pass Labs SR-2 three-way tower speakers and cranked up the level for Rock and Classical orchestral recordings, including the discrete two-track PCM soundtrack from The Who— Live At the Isle of Wight 1970 Blue Ray and Telarc’s 30th Anniversary re-recording of the Tchaikovsky— 1812 Overture with real cannon shots (more controlled than the original 1978 version) and choral accompaniment.

The presentation through the CSiB was simply gorgeous — with just the right amount of warmness — yet the violin has this life-like sonic persona with out any stridency that often afflicts violin performances with lesser amps.

Although these two pieces of music were quite different, the CODA showcased each track with an open, clean delineation of the instruments at a loud level— without premature blurring that happens when amps can’t handle the demand. Even at 96 dB, the 1812 Overture tympani and percussion were clean and well articulated. (I could not stand it any louder).

The CODA cleanly beamed out the The Who concert mix, which showcased John Entwistle’s signature bass lines, Keith Moon’s tireless, relentless drum beat and Pete Townsend’s powerful P90 pickup Gibson SG guitar/ Hi-Watt amp system. My favorite live Who recording got the royal treatment with the CODA integrated.

Operationally, the CODA CSiB was easy to use. Those who like to turn knobs may initially be put off by effortless button pushing of the digital attenuator volume control, but you get use to it. The other buttons work the same way.

The amp only gets warm, when playing the system loud. Otherwise, it does not generate a lot of heat. It is biased at 5 watts Class A. CODA’s Doug Dale says that the company can customize the bias output for more power in Class A (less in Class A/B) — if the customer demands it.

Overall, I had no complaint about the CSiB. It is built like a tank, and I doubt they break very often. My original CODA amp only failed when it got took out by a lightning strike. My two CODA manufactured-for-Legacy preamps are still going strong after 22 years.

The verdict

As you have likely noted from this review, I really am impressed by CODA audio components, and the CSiB is just about as good an integrated amp as you can find on the market. it ain't’ cheap at $6,000, but many top-notch USA-made components are now north of $5,000.

Based on my experiences with this integrated and my own preamps, I plan on doing more reviews so that the CODA line is no longer a secret in the world of quality high-end audio. More people deserve to hear them.

If you like a no-compromise amp and preamp in one unit, and you like your power, clarity and dynamic bass impression on the real side. The CODA CSiB is definitely a high-end, integrated amplifier for your short list. We also have bestowed an Everything Audio NetworkStellar Sound Award and put it on our 2016 Amp Of The Year nominee list.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

Shure KSM8: More Impact, Less Punch

Brevis...

Price: $499

Likes: big sweet spot, smooth

Dislikes: more money than a '58

Wow Factor: a "more honest" dynamic
More Info: Shure KSM8

by John Gatski
Shure has been a leader in studio and live performance microphones for more than 50 years. The ubiquitous SM57 and SM58 are likely the two most popular dynamic microphones in the industry. But just when you think that dynamic transducer technology has fully matured, Shure comes along with a new dynamic twist: the Dualdyne KSM8 vocal microphone.

Features

The KSM8 is a dual-diaphragm, cardioid handheld dynamic microphone with two-diaphragms implemented — offering a bigger sweet spot and a flatter frequency response than your typical handheld dynamic. The new design also helps to greatly reduce proximity effect, which unbalances the bass response versus the rest of the spectrum because you have to get so close to the element. The KSM8 also maintains Shure’s noted cardioid, off-axis rejection of unwanted sound and bleed from other sources from the front and sides.

To increase its durability and lower handling noise Shure uses aerospace SoftMag technology, a patent-pending Diaphragm Stabilization System, and pneumatic internal shock mounting.

On vocals, the first sonic impression of the KSM8 was the lack of sizzle, a warm, smooth tone without the hype. Dare I say, almost like tube-like. And a huge sweet spot that extends further back

Besides the bigger sweet spot, the Dualdyne design achieves what I really like about the Shure KSM8: a flatter frequency response, which reveals a more accurate sonic persona versus most dynamic microphones made today. Over the last 20 years, it seems that mics have moved to the “hotter” side in the mid/presence range of 2 kHz to 6 kHz, in order to punch vocals through the high-decibel haze of modern live performances. However, if you like to record with a dynamic, which has often has a more direct, natural character than a condenser, the presence peak (crispness) has to be EQ'd to flatten the tone.

The KSM8 has a much flatter curve than the say a SM58. If You look at the factory graphs, the SM58 is flat from 100 Hz to 1 kHz, but the response gradually rises from 1 kHz to 3 kHz (+ 3.5 dB), and then sharply rises to 5 dB by 4.5 kHz and stays around + 5 dB until 6 kHz, where it starts to flatten again, down to +1.5 by 8 kHz. The response spikes again — to +4.5 dB by 10 kHz, where it then eventually starts to fall as most dynamics do; the useable response to 15 kHz.

Inside KSM8

In contrast, the KSM8 is relatively flat all the way to 2 kHz, and exhibits a series of gentle 2.5 dB and lower bumps in the presence range response before a fall off just before 10 kHz. It is -5 dB at 12 kHz. Overall, though the response confirms a less-punchy, more accurate response to 10 kHz that I was hearing in my testing.

On voice and instruments, the KSM8 sounds flatter, by comparison, to mics that I had on hand, including a SM58. The sound has less sizzle, and in my book that can be a good thing. Vocals without extra focus in the midrange and upper midrange/low treble sound more natural with this mic.

On the minus side, bass-hewn voices may not get the lift in the upper band of the mic’s range as they do with standard dynamics, but, overall, I like the path Shure has chosen. Natural and accurate are audio characteristics I appreciate in all areas of the audio chain. If you start with a flat mic, all the better.

The mic comes in brushed nickel or black, and is housed in a nice zippered case. A mic clip is included. Retail price is $499.

The audition

I set up the KSM8, the black version, in my home recording studio. I mated it with one of the cleanest, accurate mic preamps — the True Engineering P2. The mic was linked to the preamp with a 12 ft. Wireworld Professional XLR cable. Another cable fed the preamp outputs to a TASCAM DA-3000 master recorder.

I recorded solo vocals first with a SM58, then the KSM8, and finally a Mojave MA-300 tube condenser microphone to get a reference point on where this Shure mic is in the mic spectrum.

Comes in nickel or black

A later recorded vocal was made with accompaniment with my custom Martin OO-28 fingerstyle guitar to see how the KSM8 picks up two instruments from the one mic. Just for comparison purposes, I also tracked a Yamaha U1 professional upright piano with a mic stand bar extended above the open lid. I also laid down two tracks of my Gibson L5 CES Custom jazz guitar, played through an original Fender Deluxe Reverb, circa 1965.

On vocals, the first sonic impression of the KSM8 was the lack of sizzle, a warm smooth tone without the hype. Dare I say, almost like tube-like. And a huge sweet spot that extends further back than normal dynamic cardioids. Accompanying myself with the Martin acoustic, the vocals and guitar were picked up nicely even at two feet away. A singer/guitarist should really like this mic if you just want a simple relay of the two sources with one transducer; it works great.

Couple the great tone with Shure’s exemplary build and packaging, you got yourself an Everything Audio Network Stellar Award winner. Its superb quality also bumps the KSM8 onto our 2016 Microphone Of The Year list.

Yet the off-axis rejection is excellent; sounds coming from back and sides of the mic are firmly suppressed to enhance the clarity of the up-front source. But you still have that bigger, on-axis sweet spot, thanks to the Dualdyne design.

I liked the smooth body so much that I also tracked the Gibson jazz guitar with the KSM8. For a dynamic, I liked the way it picks up the humbucker/tube amp tone — the natural attack of the tone without any extra mid emphasis. It obviously does not have the extended top end of a condenser, but it sounds pretty darn good. Way smoother than a ‘57.

And yes, it captured the essential tone of the U1 piano— a lean bass, sparkly sounding, upright without exacerbating the low-treble register. My recorded 24/192 tracks were good enough to use in a mix, mic quality wise.

The verdict

All in all, the Shure KSM8 is a welcome change for the dynamic microphone niche. A smooth accurate response to 10 kHz, which means less exaggerated punch when you don’t need it, which also means less EQ needed. The Dualdyne cartridge also creates a bigger sweet spot in the on-axis field to the point you don’t have to eat the mic. That attribute also results in less proximity effect.

I think that over time, the KSM8‘s atypical dynamic accuracy will push it into a variety of uses including instrument recording and studio vocals. Couple the great tone with Shure’s exemplary build and packaging, you got yourself an Everything Audio NetworkStellar Sound Award winner. Its superb quality also bumps the KSM8 onto our 2016 Microphone Of The Year list.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

New Tweaks for Oppo's Best Seller DAC/HP Amp

by John Gatski

Oppo Digital has taken my favorite portable headphone amp/DAC, a winner of the 2015 EAN Personal Audio Product of The Year Award and upgraded it at no extra charge.

Aesthetically, the $299 HA-2SE looks the same as the original HA-2 — genuine leather casing with contrast stitching and beveled aluminum edges. But inside, the DAC chip has been upgraded to the ES9028Q2M, the top-of-the-line from ESS Technology’s SABRE32 Reference series for portable designs. The headphone amplifier is further optimized for very sensitive in-ear monitors, with a claimed lower noise floor and higher signal-to-noise ratio over the original HA-2.

OPPO HA-2SE is engineered to enhance music playback from mobile phones and portable music players. Featuring hybrid Class AB amplification and a USB DAC, the HA-2SE offers high-performance, digital-to-analog conversion for Apple’s iPhone/iPod products, a wide range of Android devices, PC and Mac computers. Equipped with a 3000mAh internal battery and OPPO’s patented safe rapid charging technology, the HA-2SE can charge mobile devices on-the-go and can itself be charged in 30 minutes.

Key Features

•ESS Sabre32 Reference DAC — ES9028Q2M DAC chip delivers high-resolution performance with extremely low noise and distortion.

•High-Resolution Audio — The HA-2SE supports PCM audio up to 384 kHz / 32-bit, DSD audio up to 12 MHz (DSD256 or DSD4x). No camera connection kit required for high-resolution playback from iOS devices.•

•Ideal Companion for iPhone 7 – The HA-2SE provides improved sound quality over the adapter that comes with the iPhone 7, and its ability to charge the phone while you listen to music resolves the issues arising from the removal of the 3.5 mm headphone jack.

•Multiple Devices Support – The HA-2SE supports multiple device types for digital-to-analog conversion via USB: iPod / iPhone / iPad, smartphones with USB OTG feature, PC and Mac computers.

•Mobile Power Bank with Rapid Charging – The HA-2SE functions as an external battery pack to charge mobile devices. Its internal battery can be quickly charged in about 30 minutes with the patented rapid charger.

Inside the HA-2SE

EAN raved about the original HA-2 when it came out two years ago, noting how high-end its HP output was in terms of deep soundstage and intricate detail when listening ti hi-res music. In fact, I recommended it to numerous audiophiles who were considering combo/DAC players that cost more than 3X the price of the Oppo. To improve on the original is an incredible feat.

According to Oppo: "The HA-2SE is a very mobile-centric, portable headphone amplifier and DAC that pairs exceptionally well with iOS and Android devices. It works especially well with Apple’s newly released iPhone 7 and iPhone 7 Plus. As a “Made for iPhone” certified device and coming with a Lightning cable included, the HA-2SE can charge the iPhone and play music at the same time."

When used with quality iPhone audio apps, the HA-2SE supports bit-perfect playback of high-resolution music, exceeding the 48 kHz sample rate limitation of using the phone’s built-in headphone output or headphone adapter.

"Its high-end DAC and high output amplifier can provide a significant improvement in sound quality and drive a wider variety of headphones than the Lightning-to-3.5mm adapter that comes with the new iPhone," an Oppo spokesman explained. "When used with quality audio apps, the HA-2SE supports bit-perfect playback of high resolution music, exceeding the 48 kHz sample rate limitation of using the phone’s built-in headphone output or headphone adapter."

In addition to the USB DAC inputs, the HA-2SE provides a 3.5 mm, line-in jack for portable music players that do not have a USB-compatible digital output. The same jack doubles as line-out when the HA-2SE is used as a DAC. The headphone amplifier has two gain level settings and a Bass Boost function.

The HA-2SE will be available for audition and demo at the Rocky Mountain Audio Fest in Denver during the weekend of October 7 – 9. Click Oppo HA-2SE for more info.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

Equi=Core 300 Balanced Power Codntioner Everything Audio Network

If you have AC line noise, balanced power can help ©EAN

Brevis...

Likes: can clean noisy AC

Dislikes: No AC outlets (on 300)

Wow factor: based on science
More info: Equi-Core Model 300

by John Gatski

Balanced power isolation transformers have been around for more than 50 years, and in recent years, various companies have catered to the high-end audio community in search of a way to lower extraneous audible AC line noise. It is not a 100 percent sure-fire cure, but plugging into balanced power supplies can certainly provide stability and a central grounding source for your precious gear,

Features

The Equi=Core 300 by Core Power Technologies of Colorado is their mid-level unit at $799 MSRP with 300-watt output capacity. The company also sells a 50-watt version for $499 MSRP and 150-watt version at $599 MSRP. These three models do not come with built-in output receptacles; you have to use an outboard power strip with a modular IEC power input. Newly added models 1200 at $1399 MSRP and 1800 at $1,799 MSRP are now shipping as well, and they do come with eight built-in NEMA Hubble or Schuko receptacles for those who run big power amps and multiple components.

The onboard standard power cable length of the 3 smaller models is 2.5 feet with the option to increase the length to 5.5 feet or 8.5 feet for an extra charge. The larger units come equipped with a standard 6.5’ power cable. We ordered the high-quality, but budget-priced, Wireworld Matrix2 strip to to use with the Equi=Core — about $120.

The Equi=Core 300, however, impressed me with its relative transformer silence. I had to put my ear on the unit to hear the negligible hum of the transformer. No way you could hear it at the listening position — even with the volume muted.

As an AC accessory box, the Equi=Core does not have any controls, meters, lights, etc. It is sturdily built, looks modern, and is not that big. It has a receptacle for the outboard strip on one side and its own heavy gauge AC power cable with quality three-prong, U.S. spec plug. It weighs about 15 pounds.

Balanced power is essentially an isolation transformer with a secondary-side center tap to ground, providing two separate AC legs. The balanced circuit takes a 120V AC and divides the power into 60 volts on either side of ground, so the full 120 volts are provided via the unit. (In a typical unbalanced AC system, the main conductor has 120 volts to ground and the neutral has 0 volts to ground).

Balanced power voltages flow 180 degrees out of phase to each other (with respect to ground). The out-of-phase design results in a noise-canceling effect that can audibly reduce power line noise via enhanced common-mode rejection. For this all to work, the important ground link is made via the output center tap of the balanced AC isolation transformer. This system ground is then linked to the true earth ground via the properly installed AC outlet, netting an effective ground for proper component operation and safety,

The $120 Wireworld Matrix2 is a good mate for E=C 300

In my experience, balanced power can benefit an audio system if “dirty AC” is at play, and at the very least it provides an effective centralized ground for all your components. I reviewed the Alpha Core unit in the early 2001, and I found it did lower extraneous, audible line noise and some 60 cycle hum that was produced in one room in my house that had a number of noisy AC devices on the unbalanced circuit. The balanced power, therefore, can improve low-level sonic definition by lowering the background noise that gets transferred from AC line.

However, on a noise-free, up-to-spec unbalanced AC circuit that is properly grounded with good receptacles, I believe there is little benefit, other than a central grounding system. These boxes do not magically transform your audio, but rather curb inherent noise on the AC line. It will not cure the self-induced noise of a tube amp or any other component that generates its own background hum and hiss.

Cure the noise

So when I was sent this unit, my previous experience proved beneficial for the review of the Equi=Core. In my main audiophile room, I have a dedicated, unbalanced AC system that has its own fuse box and earth ground, with professional-grade, grounded outlets. I don’t have AC-infused noise infiltrating my audio system. Therefore, the balanced power is not necessary. Putting in the system did nothing as far as changes in audibility of noise, since there is no noise other than what the components generate at low levels.

I found that, indeed, the Equi=Core significantly reduced the buzz and audible 60-cycle hum. The hum was knocked way back to the point you could not hear it through the speakers — unless you put your ears right next to the drivers.

However, a secondary room that I wanted to use for audio demos has AC fed from the houses’ primary fuse panel. There is a mixture of grounded and ungrounded outlets with refrigerator and cable box plugged into the circuit. Audio devices plugged into any one of three outlets in this particular room reveal persistent, audible hum and buzz. It is loud enough to hear through speakers with the volume all the way down on the stereo amp. Headphone amp listening reveals the noise to an even worse degree and is very distracting. My guitar amp really picks it up as well. As with my experience doing the Alpha-Core review in 2001, this noisy AC portal was a perfect candidate for the Equi=Core’s balanced power unit.

Setting up a Coda high current preamplifier, Pass Labs XA30.5 amplifier with Westlake LC8.1 speakers, and later a Bryston BHA-1 headphone amp, I found that, indeed, the Equi=Core significantly reduced the buzz and audible 60-cycle hum. The hum was knocked way back to the point you could not hear it through the speakers — unless you put your ears right next to the drivers. (With the volume turned down of course).

There was still some buzz with the volume all the way down, but attenuated downward significantly from the non-balanced power plug-in test. The guitar amp cleaned up quite a bit in the hum department, though the self–induced hiss was still there. These boxes cannot cure the internal noise of the component, but having a balanced power AC system with a centralized, proper ground can lower ground loop noise, and extraneous AC line noise.

The $1,799 high-capacity Equi=Core 1800

My gripe with big transformer power supplies (including balanced power units) is that the transformer lamination vibration noise often is louder than the AC noise you are trying to cure. Big ole transformers have a tendency to vibrate and make mechanical noise. (I have a 40 amp ham radio power supply that had to be put in an isolation box, just so I did not have to hear its ample vibration noise).

The Equi=Core 300, however, impressed me with its relative transformer silence. I had to put my ear on the unit to hear the negligible hum of the transformer. No way you could hear it at the listening position — even with the volume muted.

The only fly-in-the-ointment with this review was an issue with the built-in cord, the strain relief grommet pulled out of the unit under significant stress (like accidentally tripping on it) and you could see the individual wires contained in the cord. It did not affect the performance, but the company has been notified and is adding additional stress tests to its QC regimen to makes sure the grommet is strong enough to keep the inside, er, inside.

I also believe the manufacturer should bundle the balanced power unit with an outlet strip. If I order one, I don’t want to have to chase down the separate outlet strip. The old Alpha Core’s was built in. In my opinion, with the separate strip designs, the manufacturer needs to figure out a combo price and include the strip in the price.

The verdict

Having sampled balanced power for audio systems in the past, I think it can be a viable solution to reducing AC line noise that gets transmitted to your component, and it provides a solid central ground for your components. Does it magically transform your component’s audio output quality? No. But it can increase low-level resolution by reducing the competing AC noise that is audibly transmitted to your speakers.

The Equi=Core 300 is reasonably priced, well-built and is not obtrusive with its compact size and modern look. If you have an AC noise problem and you want a centralized, high quality AC connection, the Equi=Core balanced AC power units are worth checking out. Because it did lower the noise in a problem AC circuit, I am giving it an Everything Audio Network Stellar Sound Award.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

©Everything Audio Network

Brevis...

Price: $2,495

Likes: a classy int. amp with D/A

Dislikes: at this price, it is perfect

Wow Factor: "we say wow"
More Info: Parasound Halo

by Russ Long

A new twist on the classic integrated preamplifier comes to us from Parasound, a company that has offered the audio fan cost-effective, hi-performance components for 35 years. The stunningly designed, $2,495 Parasound Halo Integrated Amplifier combines a quality hi-fi preamplifier, equipped with tone controls and home theatre bypass, with a power amp, DAC, phono preamp, and frequency sweepable crossover resulting in a device that can handle any phono, line-level analog, or digital signal. The preamplifier section is based on the Parasound P5 and the power amplifier is a dual-mono design based on the A21 and A23 Class A/AB amplifiers.

Features

The Halo Integrated Amplifier, reminiscent of the other components in the Parasound Halo line, is a 2.1-channel, solid-state integrated amplifier, available in either a black or silver finish. Integrated amps are often avoided because they prohibit the user from changing preamps without changing power amps and vice versa. Their big advantage is that combining the power amplifier and preamplifier into a single unit saves space and eliminates the need for cabling between the preamplifier and the amplifier. This reduces the cost without compromising quality.

The feature/performance/price ratio puts the Halo Integrated squarely in our Everything Audio Network Stellar Sound Award category and an enthusiastic nomination for EAN’s Amplifier Product of the Year.

Weighing 44.9 pounds. (20.4kg) and measuring 17" (437mm) W by 5.9" (150mm) H by 16.1" (413mm) D, the $2,495 Halo provides a power output (0.9% THD+N) of 180-watts/channel into 8 ohms (22.55 dBW) or 270 watts per channel into 4 ohms (21.2 dBW). It has a frequency response of 10 Hz–100 kHz with total harmonic distortion less than .01%. Removing the top reveals a dual-mono power supply with an oversized toroidal power transformer and 40,000uF filter capacitance. The power amplifier section incorporates MOSFET drivers, JFET input pre-drivers, and twelve high-current, high-voltage bipolar output transistors.

Analog inputs include five pairs of single-ended RCA line-level inputs, one pair of balanced XLR inputs, an aux input via 3.5mm stereo mini-jack input and one pair of RCA single-ended phono inputs that includes a built-in phono preamplifier with RIAA curve. The phono input has three settings selectable via a switch located on the back panel. Options include one moving-magnet setting and 100 ohms or 47k ohms resistance moving-coil settings. The Aux input is located on the front panel making it quick and easy to integrate a phone or iPod into the system.

Digital inputs include TOSlink optical, coaxial SPDIF, and USB. The onboard DAC utilizes the ESS Sabre32 reference DAC chipset which is compatible with any PCM source up to 384/32 and DSD 64 (1x), DSD 128 (2x), DSD 256 (4x) native and 384kHz DoP protocols. The SPDIF and TOSlink inputs are limited to 192/24 while the USB input supports anything commercially available up to 384/32 via USB 2.0. The USB input works natively with the Mac OS but requires a driver (downloadable from the Parasound website) when used with Windows.

The Halo is ready for all component link-ups

Outputs for the Halo Integrated include a pair of speaker outputs via 24k-gold-plated five-way binding posts, a pair of record-out line-level outputs via single-ended RCA connectors, a pair of main outputs via balanced XLR connectors, and sub outputs via a single XLR or two single-ended RCA connectors which are managed by the crossover. The analog crossover includes separate controls for the sub and mains outputs making it easy to independently set the sub and mains for any crossover point from 20Hz to 140Hz. Headphone output is via 3.5mm mini-jack. The headphone output impedance is 10 Ohms.

While there is only one pair of speaker outputs, a second and third power amplifier can be utilized to provide speakers to additional rooms by incorporating the balanced and/or single-ended main outputs. The home-theater bypass mode allows the unit to be assimilated into a home theater system by routing the pre-outs of a home theater receiver directly into the power amplifier section of the Halo Integrated. This also allows the receiver’s subwoofer output to be routed to the Halo Integrated’s sub output so the same subwoofer can be used for both two-channel music and multichannel home-theater listening.
In addition to input selection and mute, the front panel includes treble and bass controls as well as a tone control hard bypass switch, and balance control. The Halo’s simple remote control is plastic with illuminated buttons. It includes volume control, input selection, tone on/off, mute, and power on/off.

The setup

I spent the majority of my review testing auditioning the Parasound Halo in my audio room where I placed a pair of Episode ES-700-MON-6 speakers on a pair of 18-inch stands roughly eight feet apart with the tweeters focused at the listening position. Also included in the system was an Episode ES-SUB-12-300 powered subwoofer. In addition to monitoring through the Episode speakers, I spent significant time listening through Focal Spirit Professional, Audio Technica ATH-MSR7, and Audio Technica ATH-R70x headphones and Ultimate Ears Pro Reference Remastered IEMs.

The Halo will look great in your equipment rack

Playback was via a Pioneer Elite BDP-53FD Blu-ray player, a TEAC TN-570 turntable, and a MacBook Pro via USB. Setting up the crossover was reasonably simple. The crossover control is on the back panel which is somewhat inconvenient if you are a tinkerer, but once I get it right, I like to leave it alone so I like having it out of sight.

The audition

I began my testing by listening to vinyl versions of The Beach Boys— Pet Sounds and Roxy Music— Avalon via the TN-570 turntable. The Parasound Halo performed remarkably well. I own the stereo version of Pet Sounds that features a striking stereo mix by Mark Linett and the combination of the Parasound Halo and the TN-570 revealed every beautiful sonic nuance the album has to offer.
The smooth, rich vocal tone of the Beach Boys has never been better and the bottom end is simply stunning especially on “Let’s Go Away For Awhile.” Equally impressive is the vinyl version of Avalon. Upon listening, I was blown away by the album’s exquisite sound. The drums are punchy, rich and full with beautiful sub-harmonic detail perfectly complimented by the smooth, lush bass.
And Bryan Ferry’s rich, lush vocals are simply gorgeous especially on “More Than This” and “Take A Chance With Me.” I sadly hadn’t listened to Avalon on vinyl since purchasing the CD two decades ago, but it sounded fantastic through the Halo. Bob Clearmountain’s mix on this sonic gem truly stands the test of time.

Quality parts, design make the Halo a fantastic value

I spent several hours listening to my staple reference material including James Taylor— Hourglass, Pink Floyd — Dark Side of the Moon, and Elton John — Goodbye Yellow Brick Road on SACD and Fleetwood Mac — Rumors, and The Beatles— Love on DVD-A discs. Regardless of monitoring level, the Parasound Halo did a wonderful job of producing exceptional sonic detail and sound quality. The onboard DAC is quite impressive as well. In listening comparisons between the Halo’s internal DAC to the original standalone Benchmark DAC1, there was no discernible difference in detail, and the Halo was a touch smoother.

Regardless of monitoring level, the Parasound Halo did a wonderful job of producing exceptional sonic detail and sound quality. The onboard DAC is quite impressive as well.

The Halo reproduces mid-frequencies that are full and rich with smooth, sparkling high frequencies without any harshness or brittleness. Most of my listening tests included the use of a subwoofer but when I removed the subwoofer from the system, I found that the Halo’s low frequency reproduction is smooth and well controlled. The high- and low-frequency tone controls are smooth and musical making it easy to compensate when listening to less than wonderful recordings and when not needed the tone controls can be completely removed from the circuit for an ever so slightly purer tone. The mute button illuminates in red when the mute is active which is a nice touch as there is never any question as to whether the mute is active or not.

The Halo’s headphone amp worked well with all of my reference headphones allowing for detailed and enjoyable monitoring in each instance. This is a pleasant surprise as the headphone section is in no way the focus of the box. I found that the Halo runs fairly warm so ventilation may be a consideration if it is being placed in a tight space. During my testing, even when used continuously for several hours, I found it never required a fan or any additional ventilation.

The verdict

While integrated amplifiers are not typically found on audiophiles’ must-have lists, Parasound has proven with the Halo Integrated that it is possible to make an integrated amp capable of catching even the most discerning listener’s ear. It is a first-rate, powerful amplifier, paired with a superb preamplifier that includes a high-quality DAC capable of supporting all modern formats and a built-in crossover. Combined with a good pair of speakers and a high-quality sub-woofer, you have the foundation for a truly spectacular listening situation at an extremely reasonable cost.

The feature/performance/price ratio puts the Halo Integrated squarely in our Everything Audio NetworkStellar Sound Award category and an enthusiastic nomination for EAN’s Amplifier Product of the Year.

An avid home theater and audiophile listener, Russ Long makes his living as a Nashville-based professional audio engineer, who has recorded hundreds of albums for various artists, including Grammy Award winner Sixpence None The Richer. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

"Great Sound, Plus An Expansive Set Of Features!”

Brevis

Price $1,995

Likes: Sonic Q, features galore

Dislikes: logo lighting colors?

Wow factor: it does everything!
More info: Mytek Brooklyn

by John Gatski

I have been a big fan of Michal Jurewicz’s Mytek A/D and D/A designs since early 2003 — working extensively with the pro converters in my old days as editor in chief of Pro Audio review.

Mytek has morphed from a strictly pro to pro and hi-fi digital converter company over the last 10 years, making such esteemed products as the Mytek Stereo 192 A/D and D/A, professional multichannel DSD A/D-D/A, and the venerable Manhattan D/A with its custom analog attenuator.

Now comes a new generation of Mytek converters including the Mytek Brooklyn reviewed here. A new Manhattan II is coming as well.

Features

Priced at $1,995, the Brooklyn takes the convenience and size of the Stereo 192-DSD DAC — adding a slicker interface and improving the overall sonic accuracy via the line stage and headphone amplifier. The Brooklyn can handle up to 32-bit integer/384 PCM (it’s coming folks) and 4X DSD via USB2 connection.

In terms of accurate conversion, the Brooklyn really nails it as a serious, quality D/A converter, but it is so much more — with nearly all the bells and whistles any audiophile could want: line preamp, phono preamp, headphone amp, analog/digital volume choice, and the MQA decoder.

The new DAC also includes the recently released MQA (Master Quality Authenticated) decoder. MQA is coding scheme that is said to allow high-res music to be streamed from such sources as Tidal at a much lower rate than a normal high-res sized download. Other features include an excellent headphone amplifier, a MM/MC phono preamp, word length/sample rate display, and the slick-looking graphical interface. It also has digital connections for DSD sources.

According to Mytek’s Jurewicz, the ergonomic ease of use and interface are obviously a step up over the Stereo 192-DSD, but the sonic improvements are quite audible. Audio path upgrades include:

•Utilization of the newer Sabre 9018 chip (increased detail)

•Addition of a 0.82ps Femtoclock;

•Two-output (with optional) balanced, dual-mono headphone amp with 2X the power of the Stereo 192-DSD;

•Much improved user interface with OLED displays;

•Mytek Control Panel software enables control from computer, in the future also via iPad;

•New USB Class 2 interface, low latency, full integer 32-bit USB interface, driverless for Mac and Linux, improved clocking and lower EMI.

Jurewicz also noted the low-noise MC/MM analog phono stage (rare in a DAC), a second SPDIF input and an external power supply connection option.

Like the Stereo 192, the half-rack Brooklyn is a busy little box. The front panel sports the two headphone jacks, two left-side function buttons, the center OLED screen, two right-side function buttons, and the multifunction volume control, which doubles as on/off switch and mode selector.

Most any source will work with Brooklyn

The back panel is filled to the brim as well: a pair of balanced analog outputs, a pair of analog RCA/phono inputs, a pair of analog RCA outputs, two SPDIF/DSD coax inputs, SPDIF/TOSLink/ADAT optical input, word-clock sync BNC I/Os and, er, a phono ground lug. That’s right folks, this DAC contains a bonafide phono preamp. It also has a 12V port for powering via battery, an option more likely to be used by remote pro engineers.

The Mytek Brooklyn was designed with two volume controls: a 32-bit, 192-dB DR digital onboard control built into the ESS 9018 chip circuit, and a modified analog volume control with Mytek’s special brew of analog parts. The analog volume control imparts a touch more smoothness and familiar shading that you would except from an good analog volume.

Deep feature set

Because of the vast number of input options and adjustment parameters available, the Brooklyn requires a bit of familiarizing with the multi button menus and the OLED screen. But it only takes a lap or two around the controls and buttons to learn the functions

Parameters, including input selection, are engaged via the two buttons on the left side of the screen and the two buttons on the right side of the screen. The volume control allows toggling through the categories in each window, and pushing the volume control selects the parameters.

The most leftward button engages the Input mode, Coax function, Analog input options, Power-on options and Device info. Pushing the button and then rotating the volume control to Input mode shows the various options: USB, AES/EBU, SPDIF 1, SPDIF 2, Optical and Analog. Select an input and push the volume knob, To disengage from the input mode, push the menu button again.

Listening to the LP’s via a Clear Audio Emotion belt-drive turntable and a Benz L04 MC cartridge, the preamp did itself proud. It lacked the euphonic warmth of some of the high-end tube preamps I have auditioned, but its balance, low noise and audible detail, made for a good match with the Benz cartridge.

Pushing the button again and then rotating the volume control one click engages the Coax function, which allows the choice between PCM or DSD via SDIF /SPDIF using the digital coax. Another push of the leftward menu button and volume control click enables the Analog options mode. This mode allows the user to select analog line input, or phono preamp mode — MM or MC. The last modes controlled by the first button are Power (Auto/Standby/Work) and Info, which shows the unit’s serial number and allows the firmware to be restored to original settings.

The second menu button enables Volume Control while in the setup mode (otherwise you control it in the display mode), MQA decode enable/disable, Logo Light brightness level, PCM filter slope (three options).

Menu Button 3 (immediate right side of display) enables Digital Sync (internal/external clock), Volume Control-select (analog or digital), Standby Light brightness level, and DSD Filter (three options). The fourth menu button selects Output (HP/Main/Both), Volume Control Bypass, Logo Light Color (16 different colors, whew!) and Remote Control option.

There are a lot of operational options, but the Brooklyn is much easier to navigate than the Stereo 192-DSD DAC’s menus and a million percent easier to change parameters than the original Manhattan I. (Hopefully, the new Manhattan II will get some of the functionality of the Brooklyn).

The Mytek Brooklyn is one of the first DAC’s to be equipped with MQA decoding. MQA-encoded music is claimed to deliver hi-res quality for streaming, contained in a smaller file size than conventional PCM hi-res files, typically 24/96 or 24/192. Additionally, MQA applies a “deblurring” process that is said to restore proper “timing,” which is claimed to be more faithful to the original source recording.

The Mytek Brooklyn is one of the first DAC’s to be equipped with MQA decoding. MQA-encoded music is claimed to deliver hi-res quality music for streaming, contained in a smaller file size than conventional PCM hi-res files, typically 24/96 or 24/192. Additionally, MQA applies a “deblurring” process that is said to restore proper “timing,” which is claimed to be more faithful to the original source recording.

There has been a full marketing blitz on MQA with mainstream audio press singing its praises. However, since there is not that much music out there, I am holding my full opinion until I do more critical listening.

Of the few bits of MQA I have heard, including a brief sampling of the 2L label’s 24/352 original recordings and their MQA-processed versions, MQA sounds to my ear like there is some lossiness. For example, On the 2L Mozart— Violin Concerto in D recording (24/352 DXD original PCM recording), which I use for demos and have listened to more than 200 times since 2012, I found that the MQA version did not sound as dynamic as the original.

The MQA was a touch smoother, similar to DSD, but the violin harmonic textures did not seem as fleshed out. BTW, the MQA version reduced the size of the original DXD 24/352 FLAC from 700 MB to under 100 MB in the FLAC format. So it is quite effective in terms of file-size efficiency.

Although I am somewhat ambivalent about MQA, based on the 2L samples I heard, I need to listen to more original PCM vs. MQA -processed samples to make up my mind. So far, there is not a dearth of MQA/original comparison files out there.

The set up

I installed the Mytek Brooklyn DAC in several listening scenarios. Its versatility made it a natural for the audiophile rack, the home recording rig — and as a computer DAC.

In the audiophile room, the Brooklyn was connected to a Coda high-current preamp, which fed a Pass Labs X350.8 MOSFET output amplifier. Sources included Oppo BDP-105universal player, Dell Venue tablet with USB Audio Player Pro (with the bit-perfect upgrade) and a TASCAM DA-3000 hi-res stereo recorder/player for playing DSD home recordings. The Pass amp powered a pair of MartinLogan Montis electrostatic speakers
.

Comes in an attractive silver platinum...

Wireworld Eclipse speaker, analog interconnect and digital interconnect were used to link the components. Essential Sound Products Essence II power cords and power strip provided power to the various components in the evaluation system.

For comparisons, I had the previous generation Mytek Stereo 192-DSD DAC, the Mytek Manhattan I, as well as a Benchmark DAC2-DX DAC. For headphone listening, I used AKG K812s, K702 Anniversary and a pair of Oppo PM-2 planar magnetic headphones in balanced mode for evaluating the headphone amplifier.

As mentioned, considering how many features are jammed into the Brooklyn, it is quite easy to adjust the settings: inputs, input assignment, digital filters, phono settings are readily accessible via the menu buttons and a few volume control turns and pushes.

As a proponent of word-length display in D/A converters, I am happy that Mytek shows both PCM word length and sample rate in the main screen, all the way to 32-bit integer. With computer playback’s potential to default to 16-bit without the operator knowing it, all DACs should have a real-time, word length status indicator to validate the correct bit rate.

The audition

Via the audiophile rack, the first track up was, of course, Warren Bernhardt— So Real, the title track from the 2000 DMP DSD release. I immediately could hear the improvement over the previous generation Stereo 192-DSD DAC. Although there was familiar similarity in the two DAC sonic character, the Brooklyn relayed an increased openness in the space separation between the Steinway piano, bass and drum cymbals. The textures were also smoother and more refined via the Brooklyn, The metallic sheen of the brushes seemed more accurate on the newer DAC, whereas the older model was a bit more brash

On the “Autumn Leaves” track, which has a vast dynamic range, the loud parts were smoother through the Brooklyn. Yet the bass was tight and fast with no euphonic bloom. Switching to the digital volume control I detected a smidgen of edge on high-velocity transient sounds (piano), but it was still smoother than the analog volume on the Stereo 192-DSD.

For those who like their color on the darker side

The Brooklyn really shined on a DSD-to-PCM dub of Gene Bertoncini— Body and Soul, a nylon string guitar recording. The intricate string plucks and the gorgeous soundstage were a pleasure to audition through the Brooklyn. The natural, smooth, yet dynamically subtle persona of a properly mic'd nylon string guitar can get lost with lesser DACs. Not the Brooklyn; it is one of the best DAC’s I have ever heard for this music genre.

Switching to Classical and pure-DSD playback, I played the Channel Classics DSD download of Telemann— “Suit in A: Concertos And Cantata— Ihr Völker Hört. I played the tracks from the TASCAM DA-3000 and output the DSD bitstream to Brooklyn’s SDIF inputs. This allowed me to judge the Mytek’s DSD playback.

The refined baroque music of Telemann gets the royal treatment via this recording — with a deep soundstage and natural ambiance that the Brooklyn-relayed perfectly. The woodwinds were breathy and melodic without being harsh. Using the Mytek’s clock sync with the DA-3000, I noticed a small reduction in the thickness of the midrange of the tracks over using the internal clock of the TASCAM. It was subtle, but after three plays, I clearly heard the upped precision of the dynamic transients.

Digital, analog, and vinyl too

Since the Brooklyn has a phono preamp I sampled several records, including a Puccini opera box set from the 1960s, and my clean copy of Wes Montgomery‘s landmark live recording: Full House, reissued a few years ago in a Steve Hoffman-mastered HQ vinyl.

Listening to the LPs via a Clear Audio Emotion belt-drive turntable and a Benz L04 MC cartridge, the preamp did itself proud. It lacked the euphonic warmth of some of the high-end tube preamps I have auditioned, but its balance, low noise and audible detail, made for a good match with the Benz cartridge. The LP playback was tight, and the high end showed some sparkle without too much bite; channel separation was typical of most phono pre’s and cartridge combos.

It’s not often you get a phono preamp in a DAC, but this one is better than many standalone, especially for those who like their LPs with a bit more honest flavor. The phono pre may be not a deal closer for digital focused auiophilsl, but for customers who want it all in a small box — with audio quality. — the Mytek Brooklyn may be the ticket.

Under the hood of the Mytek Brooklyn

Switching to Pop/Rock and digital files, I played the 24/96 transfer of Fleetwood Mac’s “Dreams” hit single which is, of course, from the mega-popular Rumours 1977 album. This track is a great test for D/A converters — in that it has that classic multi-track, Rock recording persona — with neatly placed instrumentation, a well-centered main vocal and an enveloping backup vocal chorus. Though the recording was analog, it has a taut, crisp character. On less than stellar DACs, it can be bright and harsh. A good DAC can handle the nuance without being hard sounding or overly warmed over. Such is the case with Brooklyn. All that percussive energy, the air around the guitar tracks, and the chorus receive the royal treatment from the Mytek. The splashy cymbals are much smoother than the Stereo 192-DSD, but not in a filtered way; it sounds like the way it was recorded.

Listening to DACs

As I auditioned more than 40 albums and numerous single-cut hi-res samples of music with the Brooklyn, I did numerous A-B listening sessions with other DACs: the first-generation Mytek Manhattan I, acclaimed for its custom analog attenuator; and the Benchmark DAC 2-DX. I love the big soundstage of Manhattan's analog attenuator, but liked the Brooklyn’s dynamic presentation even more. And the stereo sphere is still very good. Plus, the Brooklyn’s is ten times easier to use than the Manhattan I.

The critically acclaimed Benchmark DAC 2-DX offers similar performance to the Mytek, though the DAC 2 might be a touch smoother. However, for the same money the Brooklyn offers so many more features: the MQA decoder, phono preamp, multi-DSD digital connection, filter options and, of course, the 16 flavors of logo light color options.

As for MQA, I did not have enough music that was encoded with the process to make a meaningful determination. Via the 2L tracks I downloaded and listened, I did notice an audible shrinkage when it came to the space between instruments and dynamics. The instrument’s individuality emerged more on the original recording. The MQA did impart a smoothing texture to the edge of the violin tone — kind of like DSD.

Maybe on different recordings, MQA does better. Once more recordings are released, we will have more-definitive listening sessions with Brooklyn and MQA-encoded recordings.

What is impressive is how Michal Jurewicz added tons more features, refined the PCM/DSD audio output and kept the Brooklyn at $2,000! The Stereo 192-DSD D/A was a great sounding unit. But the Brooklyn is exceptional in comparison. For dynamics and inner detail, I even like it better than the Generation 1 Manhattan, which was more than $5,000!

From my perspective, however, MQA is not the main selling point of Brooklyn. What is impressive, in the aggregate, is how Michal Jurewicz added tons more features, refined the PCM/DSD audio output and kept the Brooklyn at $2,000! The Stereo 192-DSD D/A was a great sounding unit. But the Brooklyn is exceptional in comparison. For dynamics and inner detail, I even like it better than the Generation 1 Manhattan, which was $5,000!

As a hi-fi DAC, I had not one major complaint about Brooklyn; I operated it right out of the box with no reference to the online manual; figured it out on my own. And everything worked as it should. I even selected tangerine as my logo light color option. Connections were a snap, and the menu item selections were mastered in minutes.

A pro-caliber D/A

With Mytek’s professional digital converter history, it only makes sense that the Brooklyn fits right into the home-recording, pro/semi-pro/musician world — just as well as it does in the hi-fi realm. With the ability to playback up to 128X DSD and 32-bit/384 PCM, and inclusion of a precision-sounding headphone amp and line stage, this DAC is one worthy of serious pro use. I used the Mytek for playback of several home brew DSD 64X and 128X recordings, which were played through my TASCAM DA-3000 master PCM/DSD recorder player. The results were spectacular.

I have to admit that it is one my favorite small DAC's of this year’s new crop. The Brooklyn gets an Everything Audio Network Stellar Sound Award and a strong nomination for EAN’s Product of The Year 2016 in the DAC category.

I love the award-winning DA-3000, and its combination of features, record/play formats, flexible routing and media options. Plus its onboard converters sound very good. However the ability to link the DA-3000 to a dedicated external DAC and use the DAC as a master clock for audio playback adds a bit of extra sonic precision and focus. My jazz guitar recordings, both in 24/192 and DSD, had incrementally more depth and succinctness via the Mytek.

Using the Brooklyn’s line out to a Bryston 14B SST2 amp and Legacy’s best buy Studio closefield speaker with folded ribbon tweeter, I heard the same clean, wide and deep audio as I did with the AKG K702 HP’s. I also used the Brooklyn as a HP amp for my Audacity and Reaper audio-editing programs on the Macbook Pro computer. The play results were always top notch when listening deep into the edits.

The verdict

In a crowded universe of cheaper DACs that sound good (and there are a few exceptional ones as well), companies such as Benchmark and Mytek remain committed to give you very high-end sound at a reasonable, mid-level audiophile price of $2,000. Benchmark has not had a new model in a couple of years (newsflash, the DAC 3 was just released at press time), but the Mytek Brooklyn is all new.

In terms of accurate conversion, the Brooklyn really nails it as a serious, quality D/A converter but it is so much more — with nearly all the bells and whistles an audiophile could want. Line preamp, phono preamp, headphone amp, analog/digital volume choice, MQA decoder, DSD DAC for outboard DSD gear, and it is ready for 32-bit integer decoding whenever that comes along. You name it, the Brooklyn has it.

I have to admit that it is one my favorite small DAC's of this year’s new crop. The Brooklyn gets an Everything Audio NetworkStellar Sound Award and a strong nomination for EAN’s Product of The Year 2016 in the DAC category.

Brevis

Price $299

Likes: super sonics, connection options

Dislikes: No wireless DSD playback

Wow Factor: Oppo oh la-la!

More info: Oppo Sonica

by John Gatski

Oppo always has a knack for coming up with crafty, quality audio products. The infamous universal BDP-95 and BDP-105 universal disc players, the PM series of planar magnetic headphones and the killer HA-1 and HA-2 HP amp/DACs: they are all successes in the audio market place.

Why would the new Oppo Sonica be any different? A compact, musically accurate boom box that uses your phone, tablet or network to play hi-res, low-res and anything in between. In fact, the audio output on the Sonica is exceedingly good enough to pass muster with the most finicky of audiophiles.

Features

Designed by Igor Livitsky and the Oppo engineering division, the manufactured-in-China Sonica consists of two parts: a “boom box” style hardware amplifier with a multi-speaker driver complement and a software player that works operates on any smart device: Android or IOS.

Via Wi-Fi, DLNA, or Network streaming, the Sonica app can play all PCM-enabled formats (AAC, AIF, AIFF, APE, FLAC, WAV, Apple Lossless, ALAC, MP3, M4 and WMA), up to 24/192. It also supports Tidal and Spotify streaming. It does not, however, play DSD files.

The key conduit most audio quality-conscious people will use is the wireless Wi-Fi connection, which operates 802.11 protocol, Bluetooth 4.1 enables the lower quality wireless signal. You can also wire your computer Network directly to Sonica via Ethernet.

For $299, Oppo Sonica is a steal. Via Wi-Fi, you get up to 24/192 quality from a smart-device app that wirelessly beams your music to a great-sounding, compact speaker/amp package. You can place it almost anywhere!

Other connectivity options include the Aux 1/8th-inch, stereo analog input, which comes in handy if you want to have a CD or portable digital player option to go along with your hi-res play options. You could even hookup a turntable/preamp combo through the analog input and make the Sonica your center piece for all your small room stereo listening.

What really makes the Sonica app/hardware system a music library-rich experience is the ability to hook up a USB drive. You just plug the drive into the unit, and the player accesses all the tracks folders, playlists. I tested my Sonica with a Western Digital 2TB drive full of hi-res music. No need to clutter up your precious internal smart device memory, or have to pay for cloud storage.

The hardware

Sonica’s 30-watt, Class D amp drives a 3.5-inch subwoofer, two 3-inch mid/upper bass drivers and two 2.25 mid/treble drivers with neodymium magnets. Each gets its own 10-watt amp. Noted Speaker Designer Igor Levitsky designed the Sonica amp/speaker configuration. Levitsky also developed the Oppo PM series of headphones and has had a hand in a number of speakers designs, including the acclaimed SLS ribbon speakers.The Sonica measures a compact 11.8-inches wide and is only 6-inches tall. Front-to-back dimensions are is just over 5-inches. Unit weight is 5.3 pounds. Color options are grey/silver and black.

Sonica's multi-driver/amp combo makes for HQ sound

The Sonica hardware is very minimalist with its front-mounted grilled speakers, volume and network push controls on the top. Round back are connections for the USB drive, Ethernet, and the 1/8th-inch mini-jack. The Sonica has a detachable, two-prong AC cord that is 6 feet in length.

The set up

The Sonica playback set up was simple. Install the Android version Sonica App from the Google Play Store to a Android phone, select a Wi-Fi network, type in the password and click “Add” when the Sonica appears on the screen.

The Sonica Music menu includes options for setting up access to music from Spotify and Tidal streaming services. The menu also gives you a selection option for the device's internal memory music storage, termed “On the Device.” Other play options include Network Playback, USB Storage, Aux-In or Bluetooth. Once you have chosen your Music source, you get a choice of viewing the music from the All Music, Artist, Albums, Genres and Folders option.

The Settings menu enables Bluetooth, the Aux-In setting, Sound Optimization (EQ presets), Sleep Timer, Advanced Settings, Night Mode (changes background color) and About, which give detailed info about the app and enables software/firmware updates.

Put it anywhere

I placed the Sonica speaker unit on top of my my Yamaha U1 upright piano, plugged it in, and I placed it about 4-inches from the back wall. From the Android Sonica app, which was installed on my Android-based smart phone, I selected my Wi-Fi network from the app, typed in the password and pushed the Add icon. The onboard Sonica player was now wirelessly linked to the hardware amp/speakers. For my music source, I plugged in a WD 2 TB drive full of hi-res music into the Sonica unit.

Control the level via onboard volume or Sonica app

With Sonica's small footprint and ease of location, I played various types of music to get a sense of the optimum placement and desirable EQ settings, of which there are four settings Preset 1-4. By listening to Pop music, I quickly surmised that the presets decrease the bass as you advance the EQ presets. Preset 1 has the biggest bass boost; Preset 4 has the least. Since the unit was pretty much next to the wall, I used Preset 4 to flatten the bass as much as possible. I wish the app had adjustable bands in the EQ, but at least the four presets gives you a modest amount of EQ flexibility.

The audition

With the sound dialed in, I finally got my chance to listen to Sonica’s potential as a portable, but serious, hi-res listening system. And guess what. It is, indeed, an impressive playback system. The first audible character I noticed was how balanced it was. On the Warren Bernhardt — So Real SACD 24/96 PCM dub, I took a serious listen to the lead track, “Autumn Leaves,” which I have used as a demo tracks at least 200 times or more.

Played through Sonica, the track’s bass, drums and piano had that open, detailed, dynamic persona that i am used to hearing from a good audio system and quality hi-res portables. The piano, had a bit of extra tinkle emphasis, but the cymbals and bass were audibly painted with a generous presence spread that reminded me I was listening to better than CD quality. Very Nice!

All control, setup and play are done via the app

And on the title tracks “So Real”, with all that transient energy via the drum cymbal miking, focused piano fills and a tight, percussive bass tone, I was downright tickled on how good it sounded. and that is with Sonica’s drivers in a configuration of just a few inches apart.

In fact, the stereo separation is superb, considering the small package. Although I had two units, to use as separate left and right speakers, which does add extra dimension in medium-to-large rooms. I did most close monitoring duties with just one Sonica. Linking two Sonicas is just matter of selecting the Stereo Pair option after the initial Wi-Fi settings: one Sonica for L-channel and one Sonica for R-channel.

On the title tracks “So Real,” with all that transient energy via the cymbal miking, focused piano fills and tight, percussive bass tone, I was downright tickled on how good it sounded. and that is with Sonica’s drivers just a few inches apart.

After the delightful experience with the jazzy “So Real” album, I switched to Pop music, and played a dub of the Roxy Music Avalon SACD (at 24/192). Again, the little Sonica dug deep to give me a HQ presentation of the title track. Tremelo-tinged electric guitar jangle, precise percussion and generous layers of vocals: all were heard with clear delineation. And up to fairly loud volumes, it held together. Damn, this Sonica is good.

I played a 16-bit recording, the CD remaster tracks of Aretha Franklin 1981 album Jump To It. The Queen of Soul’s funk-infused album was produced by Luther Vandross, and percolates with energy, especially the title track. The funky keyboard riffs, bass, rhythm guitar and drums, combined with Aretha's scatting, playful, vocal style, the Oppo Sonica really delivered. I did not sense that the sound came from a small box of drivers. Unlike other boom box systems I have auditioned, the sonic balance on Sonica is key to its enjoyment.

The living room piano: a perfect perch for Sonica

After a week’s worth of listening to 50 or more tracks, i could not fault the Sonica as a portable hi-res app/hardware audio player. I sampled the Aux-In with a portable CD player, which made it handy for music you have stored on disc. I even sent smart phone playback via the Bluetooth option. Obviously, there is definite loss of fidelity — compared to the pristine Wi-Fi, Ethernet or Aux In sources — but listenable none the less. I did not try the Spotify or Tidal streaming services (I rarely stream unless it is true hi-res, service such as Prime Seat), but I would predict that Sonica would easily handle the streaming service within the prescribed fidelity limits.

Wireless or wired connection is possible

The only wish-list item I would like to see in a Sonica upgrade, is the ability to play DSD tracks, I have hundreds of DSD downloads (and my own home brew DSD guitar recordings) that could enhance my use of Sonica. However, I was able to listen to DSD tracks, via the iBasso DX-80 portable player which does play native DSD. I simply connected a 1/8th-inch stereo jack cable from the iBasso to the Sonica’s Aux-In.

The verdict

In two words, “Heck Yeah!” For $299, Oppo Sonica is a steal. Via Wi-Fi, you get up to 24/192 quality from a smart-device app that wirelessly beams your music to a great-sounding, compact speaker/amp package. You can place it almost anywhere.

The voicing of the speakers, the driver dynamics and the surprising amp power simply blows away most “wireless” or wired boom boxes in this size range. Whether you use one or two, you will be happy with your Sonica choice. Throw in the multiple connection options and you will quickly see why we gave Sonica an Everything Audio NetworkStellar Sound Award and a definite EAN 2016 Product Of The Year Award — Personal Audio category.

New AKM-Equipped DAC Impresses On DSD/PCM Playback

Brevis

Price: $3,495

Likes: fantastic sound quality, HDMI

Dislikes: lacks a bit-status indicator

Wow factor: an even better Bryston DAC!

More info: Bryston BDA-3

by John Gatski

I have reviewed Bryston’s earlier BDA DACs over the last few years and, as expected, they were purveyors of impeccable high-end DAC performance — at a rather mid-price point for a high-end, audiophile D/A.

The latest BDA-3 is the best one yet. Although you don’t get a preamp or headphone amp, the BDA-3 decoding quality is in the upper-tier of audio D/As and will impress the listener who likes his audio in an accurate, yet smooth, open, dynamic presentation.

Features

Utilizing the latest high-end AKM D/A chip the AKM AKM4490 and Bryston’s discrete analog path, you get excellent decoding of PCM up to 32/384 and up to DSD 256X. The attractive-looking, full-rack, BDA-3 DAC sports oodles of connection options including SPDIF via coax/TOSLINK. AES/EBU, USB and HDMI. The BDA-3 is not a preamp, thus, level is fixed, making it an extraordinarily clean DAC to mate with your chosen preamp, and/or headphone amplifier, such as the bang-for-the-buck leader: Bryston BHA-1.

The Bryston BDA-3 is the best-sounding DAC the company has ever made and is one of the most open, accurate D/A converters on the market. Couple the pristine sonic character with the plethora of connection options, and you got yourself one mighty fine piece of hi-fi gear.

The BDA-3 is easy to operate and has a simple, but elegant, front display. It contains 12 physical buttons: Upsample, Optical, HDMI 1, HDMI II, HDMI III, HDMI IV, SPDIF Coax I, SPDIF Coax II, AES/EBU, and USB1/USB2 input selections and the power switch.

The status indicators include individual green LEDS for sample rates: 44.1 kHz to 384 kHz PCM, and DSD 1X, DSD 2X and DSD 4X, Another green LED indicates digital lock. The BDA-3 does not have a word length/bit indicator like many of the newer DACs on the market, such as the Benchmark DAC 2 and 3, Mytek Brooklyn, Oppo HA-1 and Prism Callia. (I am of the opinion that the word-length indicator is every bit as useful as a sample rate indicator, and can catch an audio computer doing an errant 16-bit word output when the music is actually 24 bits.)

Look at all those HDMI jacks

Around back are the four HDMI inputs (plus an HDMI pass-through output), two 24/192 SPDIF (1X RCA jack and 1X BNC), a single TOSlink (24/96 max only) input, 24/192 AES-EBU balanced XLR input, and the two USB jacks for USB1 (24/96), and USB2. The latter allows up to 32/384 PCM and the DSD 11.2 MHz compatibility (256x). There are two sets of fixed analog outputs: the -10 dB unbalanced RCA L/R, as well as a pair of pro level XLR L/R outputs.

The heart of the BDA-3 is the balanced pair of AKM4490 D/A chips — a recently released D/A converter circuit that offers outstanding subjective performance and great specs — more than -120 dB signal-to-noise ratio. The newest AKM chips offers a near ideal balance of smoothness, yet realistic, dynamic upper-frequency energy with fast, tight bass. It nets the audible ease (maybe even exceeds) of the popular ESS chip line of of D/A’s, but does not lose its transient punch (though the new signature ESS D/A chip has ratcheted up its dynamic performance as well).

You combine the performance of the AKM4490 with Bryson’s discrete, Class-A analog output stage, independent analog and digital boards, and quality independent power supplies, and it makes sense why the BDA-3 sounds so good.

The 1.5 RU space high, full-width BDA-3 measures 3.63” H x 17” W x 11.12” D (with the 17" Faceplate). The weight is 8.5 pounds. Colors include silver and black. There is an optional remote control for input switching, power and switching in the upsampling.

The setup

The silver-finished BDA-3 arrived factory fresh, so I placed it into my primary audiophile rack for a couple of days of burn in. As luck would have it, I had another DAC in for review the TEAC UD-503, which also utilizes the AKM4490 chip, and a few other DACs, including the Mytek Brooklyn and Benchmark DAC2-DXfor comparison.

Tiidy, high quality PC boards stuffed with good parts

The first thing you notice with the Bryston BDA-3 (and its predecessors) is that they are atypical of many hi-fi DACS — in that they have no preamps or HP amp. So there is no volume knob. The front panel contains separate buttons for all its inputs, and there are numerous sample rate LEDS — along with DSD status — and digital lock status LEDs.

It could not be easier to plug into the desired BDA-3 input and connect the balanced or unbalanced output to your preamp or HP amp. Bryston makes several potential preamp mates for the BDA-3 including the BHA-1, which is a value leader for HP amps.

I used the DAC in three different configurations: as the main system DAC with preamp, amp and speakers; as an audiophile DAC for headphone listening with the BHA-1 HP amp; and in my home recording rig utilizing the BHA-1.

The audiophile rig consisted of MartinLogan Montis electrostatic speakers, and, at different times, a Rogue Audio Medusa digital/tube hybrid amplifier, Bryston 14B-SST amplifier and a Pass Labs X350.8 amplifier. Line preamps included the Rogue Audio RP-5 tube pre, and a Coda High Current solid state preamp. Sources included theOppo BDP-105 universal player, Macbook Pro with Audirvana Plus software, and my self-configured, budget streamer/players: a Dell Venue 8 Android Tablet with USB Audio Player Pro.

All interconnects were Wireworld Eclipse premium cables, including the analog and digital, and speaker cables. All components were plugged into the AC using Essential Sound Products Essence Reference II cables and power strip.

The audition

Having heard an AKM-chip based DAC, such as the TEAC UD-503, and various Heigel DAC’s, I was curious about what spin Bryston would put on that chip with the BDA-3. As my subsequent listening revealed through numerous hi-res sample sessions, I found that Bryston’s a superbly engineered analog path, in conjunction with the AKM chip, proved to be a winning combination.

On the Blue Coast DSD download track, Keith Greeninger/Dyaan Kai’s “Just looking For A Home, the BDA-3 punctuated the immediacy and dynamic energy of the minimalist guitar, dobro, and two-vocal recording.

On my own stereo 24/384 home recordings of a Taylor custom shop dreadnaught guitar, the Bryston revealed the music with a wide and deep soundstage from the stereo mic’d guitar, The crisp, warm, flat-picked notes and chords rang out beautifully as decoded via the BDA-3, and played through the Rogue Audio RP-5 tube pre. What I like about this AKM-based DAC is its smooth, precision that enhanced the degree of sonic accuracy; no ragged, sonic edges whatsoever. The $4,500 Taylor guitar sounded exactly like it does live.

Switching to my 24/192 PCM dub of Film and the BB’s— Tricycle SACD, the BDA-3 dialed in the huge dynamic range perfectly. Though this recording was made in 1983 with an early 16-bit A/D, the BDA-3 delivered the keyboards, bass, drums and sax without the hard-edged coldness of older DACs (and even some modern DACs that are substandard in comparison).

A rack of Bryston's

On Pop/Rock DSD, I tried several Blue Coast downloads at 11.2 MHz and the DSD reissue of James Taylor— JT album. Using the Macbook Pro and Audirvana Plus playback program, I sampled the Blue Coast track, Keith Greeninger/Dyaan Kai’s “Just looking For A Home.” The BDA-3 punctuated the immediacy and dynamic energy of the minimalist guitar, dobro, two-vocal DSD recording. The DAC’s ability to resolve the intricate detail and instrument space from this song is up there with the best DAC’s I have sampled on the track! On JT, the backing vocals on James Taylor’s hit “Handyman” opened up quite nicely with hi-res, and the low-treble energy of Taylor’s finger picking on his old Gibson guitar is simply gorgeous.

Switching to a Classical album in Hi-Res, the 2L String Quartets Vol. III— Haydn - Nordheim - Bartók string hi-res download, the BDA-3 was able to deliver the full string harmonics bloom of the 24/352 DXD-recording with an ease that lets you crank it up to enjoy all that dynamic range. The cello textures, in particular, were vivid and generously spaced. In PCM, the AKM chip is about as easy and smooth sounding as DSD.

Old CDs really benefit from the BDA-3’s design; much of the irritating edge of my 1980‘s CDs, such as the Telarc CD: Holst, Handel, Bach: Fennell — Cleveland Symphonic Winds, and the Second Hearing recording of Laredo/Robinson— Duos For Violin And Cello, simply disappeared through the BDA.

In native mode, the CDs’ audio qualities were impressive through the BDA-3. The “Upsample“ mode, revealed even less strain in the upper midrange and lower treble. Good articulation — especially on the Second Hearing disc. Dynamic range on both CDs was positively Hi-Res. Many of the old CDs that we thought sounded so bad 30 years ago, sound way better with the latest D/As.

The AKM4490 duel

Though its in a completely different price range, I did shoot out the Bryston BDA-3 with the $1,000 TEAC UD-503, since they both have the same AKM DAC chip (the Bryston has two). To start out, I played So Real, the title cut of the 2001 DMP recording of Warren Bernhardt — So Real SACD. I have done a 24/192 dub of the entire SACD for enhanced player compatibility, and I used the same track for the comparison between the DACs.

Now mind you, the Bryston BDA-3 costs almost $3,500, and you expect it to be superior. To hear the difference, I used my Macbook Pro Player, connecting its USB output to a USB hub with multiple USB ports. USB cables were then run to each DAC. Wireworld Eclipse RCA cables were connected from each DAC to the Coda preamp, which switches inputs really fast. I matched the TEAC’s output level (using the variable volume control) to the Bryston using a decibel meter and test disc.

Lots of buttons and lights permeate the BDA-3

I then simply sat in my chair played the cut multiple times and switched the DACs via the Coda remote. In my test, the two DACs exhibited the same general tonal character: smooth, yet energetic, and detailed on the “So Real” cut, which has nearly perfect drum cymbal sound.

After repeated listenings, however, you could tell the Bryston was noticeably smoother in the midrange and low treble, and a few degrees more of space impression between the instruments. The longer you listen, the more you hear the difference. That sonic space between the cymbals, snare and piano, thanks to the BDA-3’s discrete analog path, was more open and the individual instrument dimension more fleshed out. And, oh, is this DAC quiet.

These are the kinds of differences that you can get when a bigger, qualitative investment is made by an audiophile product manufacturer. Often times there are subtle, incremental difference in quality. The TEAC is one of the bang-for-the-buck leaders in a multiple feature/good-sounding DAC. However, the Bryston brings a refinement that suits the higher pedigree.

An able mate for routing BDA-3 to HPs: the Bryston BHA-1

I also routed the CODA output to the Bryston BHA-1 headphone amp, using my AKG K702 Anniversary headphones, doing the same A/B tests. The closeup listening character of headphones showcased the previously mentioned differences even more.

I did a similar A/B listening with the Bryston and Benchmark DAC-2-DX, which uses the tried and true ESS 9018 DAC chip, and the recently reviewed Mytek Brooklyn DAC, which uses a ESS 9018K2M chip. Both DACs are less expensive than the Bryston, about $2,000 for either one.

These DACs sounded really good in the A/B comparisons, the DAC-2, which is being replaced by the DAC 3, is slightly warmer than the Bryston and the Mytek Brooklyn is slightly more forward. Otherwise, all three sounded excellent, but the Bryston relayed a precise analog impression that was slightly ahead of the other two. I noticed it more on the headphones, but I could hear it on the speakers to a lesser degree.

In terms of audiophile impressions of the BDA-3 beyond its sonic character, the larger chassis of the Bryston exemplifies more of a traditional appearance than the half-rack Benchmark and Mytek DACs, which have their origins in pro audio. Some folks like the bigger pieces of gear. Plus it gives you more room for features, such as multiple HDMI inputs.

Speaking of HDMI, I like the BDA-3‘s built in HDMI de-embedder (it has four HDMI inputs and pass through so you can listen to music from a universal/BD player, but still route a movie on to your pre-pro or receiver.

Multi-purpose DAC

As previously mentioned the BDA-3 is a perfect mate for the $1,699 Bryston BHA-1 headphone amplifier. In fact, I pressed the tandem into service for home recording studio editing duties. I connected the DAC to my Macbook Pro via Wireworld’s Eclipse USB cable, using it to monitor the quality of my audio editing work. I made edits with Audacity, Reaper and TASCAM Hi-Res Editor audio programs. I then monitored the edited audio through the Bryston BHA-1 headphone using the AKG K702 Anniversary headphones.

Working with hi-res tracks, the Bryston really lets you hear deep into the depth of a recording and subsequent mixes. Any flaws or aberrations can be heard plain as day. Background noise, out-of-phase miking or an overeager post-applied EQ curve will be easily revealed.

The Bryston DAC really showcased the image depth of a two-mic stereo X/Y recording of a Yamaha jazz guitar and Fender amp at 24/192. You wouldn't think that two mics and one guitar could produce such a sweeping stereo image, but the BDA-3/BHA-1 tandem revealed that generous soundstage.

Impressions, impressions

Overall, as with the previous versions of Bryston BDA’s, I really liked the BDA-3 sound quality. The use of the AKM chip has given the audiophile D/A a smoother timbre, but without losing any detail and realism in the subjective impression of its audio delivery. It really is a highly accurate DAC, without any particular voicing. What you put in is what you get out.

The BDA-3 was able to deliver the full string harmonics bloom of the 24/352 DXD-recording with an ease that lets you crank it up to enjoy all that dynamic range. The cello textures, in particular, were vivid and generously spaced. In PCM, the AKM chip is about as easy and smooth sounding as DSD.

Although it is not the cheapest DAC, the Bryston BDA-3 holds many advantages; it has a slew of connection options and can play any format — including the forthcoming 32-bit integer PCM and DSD all the way to 11.2 MHz.

The only BDA-3 review negative was ergonomic: the lack of a PCM word-length (bit) indicator. Audio-playing computers have been known to self-default to 16-bit, or get manually left in the 16-bit mode without the end user noticing. Also, many audiophiles believe that universal disc player SPDIF and HDMI digital jacks output 24 bit, when it is not always true. An on-board DAC bit status indicator, however, will confirm, for real, 16- or 24-bit in an instant. Many DACs now have the bit-status light including Benchmark, Mytek, Oppo and Prism Sound. A high-performance, pedigree DAC like the BDA-3 ought to have it.

The verdict

Overall, the Bryston BDA-3 is the best-sounding DAC the company has ever made and is one of the most open, accurate D/A converters on the market. These AKM-based DAC chips are wonderfully precise and detailed, and Bryston takes that digital finesse, and adds its own discrete analog stage, to open up the soundstage. Couple the pristine sonic character with the plethora of connection options, and you got yourself one mighty fine, top-performing DAC.

Bryston’s legions of audiophile fans will love the BDA-3 because it has that classy Bryston appearance — a full rack width and that brilliant-looking silver finish option (my favorite). New audio-quality fans will flock to to the BDA-3 because it sounds so darn good. Then once they own it awhile, they will come to appreciate its good looks as well. The BDA-3 is an EAN Stellar Sound Award winner and a definite pick for an EAN Product of The Year Award in the DAC category.

One Of The Best HPAs In The Audiophile World!

Brevis

Price: $3,500

Likes: de-luscious HP audio

Dislikes: lacks a remote control

Wow Factor: an HPA reference point

More info: Pass Labs HPA-1

by John Gatski

Right out of the box, it was such a pleasure to review the new Pass Labs HPA-1 Class A MOSFET headphone amplifier. A long time coming, the Pass HP amp's audio character is akin to the “super class A” Pass XS amplifier design — with a generously open soundstage, rich, smooth transient response and deep-bass performance.

Couple its sonic output with its ability to drive any single-ended headphone, and you have one of the best headphone amps available — anywhere at any price. The fact that it is only $3,500 makes it a genuine bargain.

Features

The Pass Labs HPA-1 features a custom, low-noise toroidal power transformer, feeding a discrete, low-noise regulated power supply for the audio circuits. According to Pass, “the importance of the power supply is often overlooked (in designing audio products) but plays a large part in overall performance of the amplifier,” even at the lower power required for driving headphones

The HPA-1’s amplifier circuits are low-feedback, wide-bandwidth discreet designs employing a JFET input stage and a MOSFET output stage, biased into a Class A-biased, direct-coupled output stage. The HPA-1 can drive headphones from 15 to 600 Ohm loads, including the rising tide of planar magnetic headphones.

Everything Audio is totally sold on the Pass HPA-1. As a high-end, audiophile headphone amplifier/line preamp, it is a bargain. It takes headphone listening, especially with hi-res material and the newer ultra-accurate D/A converters, to a higher level.

This elegant, simple preamp exudes class with its machined casing, large volume control and simple chassis lines. Beautiful simplicity as I call it. The Pass HPA-1 is elegantly simple to operate as well. The brushed aluminum front panel includes one single-ended, 1/4-inch HP input, a large volume knob, and switches for two inputs. Around back are a set of variable unbalanced RCA output jacks for line-stage use, two sets of RCA inputs and the master power button. That is it.

Spec-wise, the HPA-1 distortion is rated at less than .005% (THD+Noise, 1V out); bandwidth is listed at 10 Hz to 100 kHz (-1 dB). Output power is rated at 3,500mW at 20 Ohms and and 200 MW at 300 Ohms. The overall gain is 8 dB. Input impedance is 250 Ohms and output impedance is 2 Ohms.

The HPA-1 amp measures 11 inches wide, 13-inches deep and 4.5-inches tall. It weighs about 14 pounds. There is no remote control. This is, indeed, a purist HP amp/preamp.

A new design

Pass Designer Jam Somasundram explained that the Pass Labs HPA design presented him with a conflicting set of requirements, as headphones have impedance's that vary between 15 and 600 ohms, and that Pass wanted the HP amp to also be used as a quality line preamp.

“To get around this obstacle,” he explained. “We had to design in high supply rails and have the ability to supply a fair amount of current. So the basic design follows a small power amplifier but has to meet the requirements of a preamp — with relatively low noise and distortion.”

I am impressed with what I hear with the Pass HPA-1. Amazingly life-like, detailed, open, musical soundstage with a smooth, easy-to-listen character, and it can drive any headphone.

Somasundram noted that to get the headphone amp to handle a wide range of headphone loads and to offer excellent performance as a high-quality line preamp, the HPA-1 was created from a brand new Pass Labs design that includes the aforementioned JFET input stage, bipolar current mirror and MOSFET output stage — operating in the high-current and high-voltage drive path.

To succeed with his design, Somasundram said the power supply was key. “We had to develop a custom transformer that incorporated a Faraday shield and Mu metal band around the circumference to meet noise requirements,” he added. “It is rated for more than three times of what is needed by the circuit. It took us seven prototypes to get to the final design.”

The HPA-1 power supply has in excess of 40,000uF of capacitance and uses a discreet regulator. The only place that an integrated circuit was used in the design was the servo that controls the offset, which is not directly in the signal path, according to Somasundram.

The HPA-1 is controlled by a custom-programmed processor. The unit mutes itself for 20 seconds before turning on (the LED flashes during the mute state), then the LED stops flashing and stays on. In the event of power interruption, the unit will go through the mute cycle on resumption of power (to avoid any thump or clicks), then return to the settings in place before the loss of power.

Somasundram said he was not obsessed with specs for the HPA-1 design, but was focused on the ultimate listening enjoyment and the ability to handle any type of headphone that audiophiles wanted to use. The design testing was primarily done with simple test equipment and Pass engineer listening panels.

Somasundram noted: “We only did formal noise and distortion tests after the design was complete and, in this case, both the subjective and measured results were in agreement. The danger in designing audio equipment is trusting your test equipment too much, while trying to obtain lower distortion and noise numbers.”

Pass President Desmond Harrington emphasized that the HPA-1 turned out to be a really good-sounding headphone amp that is not that expensive. I heartily agree and could tell, in short order, what all the buzz was about surrounding this product.

The set up

I linked the HPA-1 with several DACs including the Mytek Brooklyn, the recently reviewed Bryston BDA-3, the Oppo HA-1 and the previous version Benchmark DAC: the DAC2-DX. For use as a line preamp, I used the same DAC sources, feeding either a Bryston 14B SST II bipolar amp or a Rogue Audio Medusa tube/digital amp, which then drove the electrostatic MartinLogan Montis'). For turntable listening, I relied on the Rogue Audio RP-5 tube preamp's all-tube phono stage.

A minimalist HP amp

Source players included an Oppo BDP-105, modified with a discrete analog output path, courtesy of Bill Thalmann at Music Technology in Springfield, Va.; a Macbook Pro computer and a Dell Venue 8/USB Audio Player Pro Android hi-res player in “bit perfect" mode. The computers were routed to various DACs via USB, whose outputs were connected to the HPA-1.

Headphones included a pair of AKG Anniversary K702’s, AKG K812’s, Oppo PM-1 planar magnetic, Shure SRH-1840, and the pro Sony MDR-7510. For line sources, I used Wireworld Eclipse RCA cables. Essential Sound Products Essence Reference IIpower cords provided AC power for all components, including the Pass.

The audition

Although it is a Class A amplifier, the Pass HPA-1's thick, aluminum housing takes a long time to feel warm, and I did not want ti listen until it was “warmed up.” Its mostly a mental thing, I like my Class A and tube gear to feel like its working warm and toasty, so I never did any listening through the HPA-1 — until at least 40 minutes after I turned it on.

My first demo tune was “The So Real” tracks from the Warren Bernhardt— So Real Jazz SACD from 2001, recorded by Tom Jung for DMP. I have played this track for reference listening hundreds of times, and I know it inside and out. The drum cymbals, and drum stick-on-snare is incredibly real sounding (pardon the pun), with a ultra-accurate brush-on-cymbal sheen and upper-register Steinway piano.

A properly, electronics rendered play of this track is awe-inducing with how much space you hear. Lesser gear diminishes the space, but Pass HPA-1 brings one of the deepest, widest HP listening impression I have ever heard on this track. But the musical color is not thin; in fact, it is rich and warm, like a really good tube amplifier. Although its design differs from the Pass’ super Class A Series XS amplifiers, the sonic result is very similar. A huge, but not exaggerated soundstage, with full bass lines and that “just right” harmonic smoothness.

Key to HPA-1's sound: a hefty power supply

That character follows the preamp out line stage as well. Coupling it with the Pass X350.8 MOSFET stereo amplifier, the amp reinforced the warmth and expanded the impressive stereo image out through the MartinLogan Montis electrostatics. Even on a solid-state, bipolar amplifier, such as the old standby Bryston 14B-SST II, the soundstage impression came through.

Back to the headphones, I switched the music genre to Classical, and played the 2L Mozart Violin Concerto In D from my Macbook Pro and Audirvana Plus hi-res player. The music was routed through the Bryston BDA-3 DAC/Pass HP amp tandem. The DXD 24/352 recording is slight dry, but contains an extremely detailed violin tone — with full bow-to-string harmonics and an immense dynamic range when the orchestra kicks in.

A definite award winner

Through the HPA-1 and AKG K702s, plus the Shure SRH-1840 HPs, the detail and dynamic range are intact, but some of the violin’s rough edges are tamed (compared to the outboard DAC headphone amps on the Oppo HA-1 and Benchmark DAC2. without sounding muted. It added just a tinge of audible golden glow to the violin. Again, it reminds me of the best of a tube amp stage.

Comparing all the built-in HP stages in my DACs, they all exhibited similar, in a general sense, sonic signature with varying degrees of refinement. The Oppo, Benchmark, etc. sound very open, detailed and dynamic, but none of them have that wide-open glow of the Pass. Besides the good stuff, I even found myself listening to harder-edged sounding CDs and higher rate MP3s through the HPA-1.

Conventional or planar magnetic

I switched off to planar magnetic-driver Oppo PM-1 headphones, for a sampling of the Allman Brothers "Blue Sky" track — from the Eat a Peach SACD. This is quite a good 1970's’analog recording — with the clearly delineated acoustic and electric guitar layers in a nice, open mix. Via the Pass, its sound is a bit wider with an easier-to-hear acoustic rhythm guitar permeating the the track’s play. And I love the dual-electric guitar lead interplay in the long solo, On most typical headphone amps, it sounds pretty hi-res, but through the Pass, it seems to have more life.

After about 50 various plays of different kinds of music, I came to the conclusion that the Pass HPA-1 does not sound bad on anything. The 24/96 remaster of Led Zeppelin IV’s “Stairway To Heaven?" No problem. John Paul’s Jones prominent bass line did not seem to be dragged down by the warmth of HPA-1 at all.

After about 50 various plays of different kinds of music, I came to the conclusion that the Pass HPA-1 does not sound bad on anything. The 24/96 remaster of Led Zeppelin IV’s “Stairway To Heaven?" No problem. John Paul’s Jones prominent bass lines did not seem to be dragged down at all by the extra warmth of HPA-1.

How about LP records? That was no problem for the Pass HP amp either. I played the original pressing of The Isao Suzuki Quartet— Blow Up, an audiophile LP from 43 years ago, using my Clear Audio Emotion, a Benz Wood cartridge and the Rogue Audio’s RP-5 tube phono stage. Wow did Mr. Suzuki’s bowed bass cello sound impressive through the headphones and via the line stage/amp/speakers — with its a big, warm, aggressive cello bow cadence, punctuated by the ultra dynamic drum kit.

The Pass sound is music

In recent years, Pass Labs has focused its gear designs on making music listening enjoyable with out obsessing on specs. If it has a little warmth or texture that makes audiophiles more enthusiastic about listening to music, they are happy. The XS series leans that way, so do the .8’s and now the HPA-1. In the end, listening to music that satisfies is what matters most. Do you like what you are hearing?

Love that big volume control

I am deeply impressed with what I hear with from the Pass HPA-1. Amazing lifelike, detailed, open, musical soundstage with a smooth, easy-to-listen character, It can drive any headphone, including my AKG’s, which often force me to push many headphone amp knobs way up the scale to get them to an average level.

No complaints with the HPA-1. Some may notice the lack of a remote control, but I am a knob twirler and button pusher. The lack of a remote does not bother me. I go to the rack all the time and turn up the volume (or to turn it down), so that big knob suites me just fine. The other omission is a lack of balanced circuit, but Pass engineers are working on a balanced version for those who preferred balanced headphones. Stay tuned for any news on a balanced version.

The verdict

Considering its $3,500 price and wonderful sonic persona, I am totally sold on the Pass HPA-1. As a high-end, audiophile headphone amplifier/line preamp, it is a bargain. It takes headphone listening, especially with hi-res material and the newer ultra-accurate D/A converters, to a higher level. The HPA-1 is a no-brainer for an Everything Audio NetworkStellar Sound Award, and our only choice for EAN Product Of The Year in the Headphone Amp category.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio,Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

Brevis...

Price: $2,500

Likes: Sounds great on any instrument

Dislikes: I would not dare complain

Wow Factor: the best of the old and the new

Info: Mojave MA-1000

by John Gatski
David Royer is a brilliant microphone designer who has parlayed his experience into designing industry standards, such as the Royer R21 ribbon microphone and the classic tube persons via the versatile MA-3000 multi-pattern condenser of his other mic company, Mojave Audio.

With the release of the Mojave Audio MA-1000, Royer has made another significant microphone that gives that classic vintage “body” of a large diaphragm condenser, yet has enough detail, depth and low noise to to be used on a transient-rich, hi-resolution 24-bit or DSD jazz recording.

Like the original Telefunken L251 it is based on, the MA-1000 is good on every kind of instrument imaginable: vocals, acoustic guitar, piano, overheads, horns, violin, a whole orchestra. Its sonic ease and accuracy, plus listenability, make it one of the best new microphones in years. It is not one of those import cheapie mics that flood the USA market, but it is a serious, assembled-in-USA mic, I believe, worthy of a $2,500 investment.

Features

The MA-1000 is based on the classic L251 condenser microphone, utilizing an original, new old-stock, 5840 tube with a custom-designed transformer built by Coast Magnetics. The mic’s modern bling includes three polar patterns: cardioid, omni and figure 8, and features a pad and a bass roll-off for up close work. The unit comes with a suspension microphone mount, a case, the power supply and a cable. The polar patterns are adjusted via the power supply-mounted controls.

Royer said he had an L251-influenced design in his head for a long time, and decided, based on customer interest, to produce one with his own unique twist. “When I decided to revisit the Telefunken ELAM 251, I checked out several available copies of the original AKG CK-12 capsule until I found one that I was happy with,” Royer explained.

The MA-1000 is based on the classic L251 condenser microphone, utilizing an original, new old-stock, 5840 tube with a custom-designed transformer built by Coast Magnetics. The mic’s modern bling includes three polar patterns: cardioid, omni and figure 8, and features a pad and a bass roll-off for up close work.

The Chinese-made capsule is faithful to the original CK-12 and is 3-microns thick, according to Royer, and he is pleased with the quality consistency. “The Chinese factories that are manufacturing copies of Neumann and AKG capsules have, in several cases, redesigned them somewhat to simplify the manufacturing process,” he noted.

Royer chose not to follow other mic companies in designing Telefunken L251 clones with the 6072 tube. “I decided to design the electronics, more or less, to follow the design of the German-market ‘251, using an AC701 tube, rather than using a 6072. I frown on the design of the L251 and the C-12 with the 6072 tube for technical reasons. I have used the 5840 and several other subminiature tubes in circuits, adapted from various Neumann, AKG and other tube microphone designs, for thirty years now, and they are well proven.”

Another key MA-1000 design element is the output transformer, and Royer dug up an old prototype to polish for the new mic. “As for my choice of an output transformer, the transformer that I chose for the MA-1000 is one that I had prototyped twenty years ago, but had not used commercially until now. We tried several different transformers in prototype microphones and, while other transformers worked perfectly well, the one that ultimately was chosen was the pick of the crop.”

There are a lot of L251 style-capsule derivatives on the market, but this one is one of the best (along with the ADK TC-251 which first used this particular capsule). Some of them are faithful to the vintage tone; others are pretenders that are thoroughly modern with a bit too much zing for my taste. The MA-1000’s sonic character is quite clean and accurate, with just enough warmth to keep everything sweet — without excessive bloat in the midbass and midrange.

In fact, look at the factory frequency response graph: the cardioid response is amazingly flat for a large diaphragm mic, maybe 2 dB variation max in the midrange and lower treble. Almost dead flat to 1,000 Hz and the 12 kHz to 20 kHz has less roll off than many other large mics on the market. This is one, clean-response, large diaphragm mic.

The set up

In setting up the one review sample that I could get my hands on, I mated it with two microphone preamps: the all-tube, USA-made, D.W. Fearn VT-1 single-channel unit and the the USA-made, True Engineering P2, one the cleanest mic preamps I have ever used (now only made in an eight-channel model). In individual recording sessions, I connected the mic to the preamps using Wireworld premium professional XLR cable and then ran an additional Wireworld cable to the Benchmark ADC1 A/D converter. The converter was linked to a TASCAM DA-3000 in dual mono mode, and set to 24 bit/192 PCM recording mode.
The True P2 is a clean-as-a-whistle, very neutral mic pre that excels on transient-rich instruments. The VT-1 has that classic tube body with a rich, smooth body. There is hardly a modern tube pre that can touch when it comes to voice overs, vocalists and choirs.

The audition

First up was a piano session with the P2 pre and the MA-1000.. I recorded my Yamaha U1 upright professional piano, using a mic boom with the MA-1000 mounted over the piano’s open top cover. Big mics on pianos need careful placement because of proximity effect if too close. By positioning the mic about 12 inches from the top, I obtained a good balance of bass and high-end, though the U1’s don’t have much low bass. I recorded in both omni and cardioid.

Note the tightness of the cardioid response

I played several songs with both high- and low-register emphasis on the piano to give the MA-1000 a workout. In particular, I wanted to hear if the mid- and upper-frequency were hyped. I went back to the playback and listened through my AKG K702 headphones. Wow! The piano sounded dynamic, clean, and most important: smooth in the transients of the high-register.

The accuracy of high-octave note playing was particularly impressive. No harsh note projection, but a very accurate rendering of the U1. The recording sounded accurately bright as Yamahas do, but no extra emphasis that can make treble focused pianos sound too sharp. The combination of the mic pickup and the accurate recording path allowed me to hear the natural room reflections and bits of reverb decay from inside of the piano. And this was with one mic, I would love to hear stereo with a pair of MA-1000s.

The omni mode revealed more of the room reverb from the left side of the room near a set of steps that I did not like. It was just the nature of the room setup; the cardioid sounded better to my ears.

Acoustic guitar nirvana

I moved from piano to acoustic guitar. I have used various L251 derivative mics over the years and have found them suitable for acoustic guitar, but depending on the make, they often required careful placement, use of the bass roll-off, and sometimes some EQ to tame the bass emphasis — especially on dreadnaughts.

This is where the MA-1000 really shines. If you look at the bass response, it is essential flat to 20 Hz, offering amazing bass clarity for a big condenser. Mounting the MA-1000 a foot away from my Martin J-40 jumbo at the 12th fret, I set the pattern mode to cardioid and recorded a number of finger- and flat-picked runs. The J40 is not as boomy as a dreadnaught, but some big condensers add bottom-end emphasis that makes it seem muddier-sounding than it really is.

Tube power supply for MA-1000

Not the Mojave. The Martin’s prominent midbass was clean and balanced on the recordings, while the midrange and lower treble, as picked with phosphor bronze strings, were absolutely perfect. The MA-1000‘s even frequency response allowed the true sound of the Martin to emerge without adding any presence crispness, which is an all-too-frequent character of many modern mics. I could not have been happier as I listened to the Martin tracks playback.

Ditto on the Manuel Rodriguez solid cedar/Indian Rosewood classical guitar. Intricate plucks and chords were picked up with nothing added. That bit of upper-fret extra percussiveness that I hear from the guitar’s G and B string notes was relayed clearly by the MA-1000. It was not diminished or over emphasized. It sounded just as it does as it is played.

The jazz box and MA-1000

Switching to electric Jazz guitar, I recorded my Gibson L5 CES Custom jazz guitar, played through a 1974 Princeton Reverb amp. The result was the best recorded sound I have ever heard this rig through a microphone! That warmth, expressive L5 humbucker tone, combined with the extra creamy character of the Princeton 6V6 tube, push-pull circuit, came through without any bass bloat. It is a tricky amp to record — without some adjusting of EQ or rolling off the bass in the recording chain, But with the Mojave, I just dialed back the Fender’s bass roll-off pot a few ticks to get the clean, warm sound that I wanted.

The MA-1000 is a perfect match for the DW Fearn VT-1

I had no drum cymbals to record, but I did have some castanets and tambourines that I gave a work out before the MA-1000. Based on the response graph, I assumed the top end would sound good, but it is really refreshing to hear how smooth and linear the presence range and beyond is via the Mojave. No hard, crisp punchiness on the tambourine. It sounds like a tambourine, and I am sure drum cymbals will get the same treatment.

Getting vocal

Okay-okay, it is a big mic after all and don’t they get used for voice recording? Yes, they do, and so does the MA-1000. I am no real singer, but I sang a few tunes, plus read some narration, as recorded in 24-bit. This time I used the DW Fearn VT-1 as the mic preamp. At a distance of about eight inches, the Mojave again shows its true color, or lack of color. With the bass roll-off switched off, the vocal spectrum is even — without midbass emphasis or any over-sibilance, which distracts from the true essence of the voice.

Royer has made another significant microphone that gives that classic vintage “body” of a large diaphragm condenser, yet has enough detail, depth and low noise to to be used on a transient-rich, hi-resolution 24-bit or DSD jazz recording.

And the Mojave picked up the little bits of the room reverb and decay that mixes with the voice. This is a great mic for hi-res recording because of its ability to capture that detail. In fact, its ability to find the inner-detail of transient sounds on the strings and piano remind me of the really good, small instrument mics, only the MA-1000 has a bigger, smoother soundfield. Coupling it with the VT-1 augmented that tube signature, but not overly fat or "slow" in its character. I was impressed! I want one of these mics. Actually, I want two for a stereo pair.

The verdict

I can’t think of a better vintage/modern tube mic than the Mojave MA-1000. There are loads of classic mics made in China and elsewhere that range from adequate to good, to some very good ones. This Mojave large-diaphragm condenser may be the champion in combining the old-school tube character with a linear, detailed modern flavor that allows for recording in hi-res. It is clean, low noise and extra versatile in its intended uses. Like the original Telefunken and AKG C12, I am sure the MA-1000 will be used for scores of instruments and vocal applications.

If you like tube microphones, vintage or otherwise, you have to audition the Mojave MA-1000. It receives an EAN Stellar Sound Award and also is our condenser microphone selection for the Everything Audio Network 2016 Product Of The Year in the Home Recording category.

John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net

The DAC3 is firmly In The Better Hi-Res D/A Camp

Brevis...

Price: $2,195

Likes: super accurate conversion

Dislikes: doesn't look any different

Wow Factor: time to trade in your DAC2

Info: Benchmark DAC3-HGC

by John Gatski
The DAC2-HGC is the most-read review we have ever done on EAN, which is a testament to its audio quality and feature list, as one of the premium DACs on the market. Over time, however, new competitors came on the scene and have given Benchmark a run in their subjective audio performance.

With the new Benchmark DAC3 Series, Benchmark is firmly back in the top tier of DACs — at any price. Equipped with the new ESS ES9028PRO 32-bit chip, the $2,195 DAC3-HGC, reviewed here, is the epitome of accuracy and neutral sonic character.

The Benchmark DACs have always had fantastic specs, but this one has eked out even better S/N and flatter frequency response. The new chip’s THD compensation feature also helps project a cleaner bass and a more open, revealing soundstage that is as close to music as you can get. Gone is that “overwarmth” I often heard from the previous ESS Sabre-chip DACs. Via line out or headphone amp, you can hear the difference through the DAC3.

Officially, the Benchmark web site lists the following DAC3 upgrades over the DAC2:

•Active 2nd Harmonic Compensation;

•Active 3rd Harmonic Compensation;

•Lower THD+N;

•Lower passband ripple;

•Improved frequency response;

•Faster PLL lock times;

•Faster switching between input signals.

The last item on the upgrade list features a near instantaneous input source switching with out that little segment of phase-incoherent audio that typically occurs when switching between digital sources.

Features

The Benchmark DAC3-HGC supports up to 24/192 PCM and 2.8MHz sampling DSD via the DoP protocol. The new Benchmark DAC3 series is nearly the spitting image of the DAC2, which had its aesthetic design origins in the original DAC1 series of mid-2000s. The half rack, silver or black, with its series of status lights, headphone jacks and volume control.

Familiar Benchmark features include the sample rate and word-length indicators, which are based on specific LED arrays. Around back are two SPDIF coax digital inputs, two optical TOSlink inputs, a single USB 1/USB 2 input, two pairs of analog unbalanced inputs, two sets of analog unbalanced outputs and one set of balanced outputs.

New ESS chip brings a more-defined audio character to DAC3

Included is a remote control, which switches inputs, controls the volume and enables bypass mode. The new DAC3 models, the DAC3-HGC and the line out-only DAC3-L ($1,995 with remote), both receive the upgraded signal path via the new ESS chip.

The key to the Benchmark’s more-refined sound, especially in the air I hear around transient sounds, plus an even cleaner bass response is the new ESS chip and the same advanced employed Hybrid Gain Control (analog/digital) volume control that was employed in the DAC2. John Siau, Benchmark VP and chief product designer, said the DAC3 HGC’s “High-Headroom DSP” keeps the audio smooth — without affecting the accuracy of the signal in the DAC.

Taming the “overs”

The DAC3 can handle signals as high as +3.5 dBFS, offering smoother-sounding performance on maxed digital recordings. According to Siau, most digital systems clip signals that exceed 0 dBFS. For years, he explained, the 0 dBFS digital audio limitation seemed reasonable, as 0 dBFS is the highest sinusoidal signal level that can be represented in a digital system. However, real-world measurements and math equations show that PCM digital systems can have inter-sample peaks that may reach levels slightly higher than +3 dBFS — though the individual samples never exceed 0 dBFS.

Though audible improvements in DACs these days are mostly subtle, Benchmark delivers a new, audibly superior version over the DAC2, plus added a few ergonomic upgrades, such as faster source switching. It does not look any different, but it certainly sounds different.

These inter-sample overs, however, create problems with the PCM interpolation filter, a key component of 24-bit DAC performance. Siau said the inter-sample overs cause distortion components that are audibly non-musical and harsh under subjective testing.

Linear volume control is key

To achieve linear volume control, the DAC3-HGC utilizes the same circuit, first implemented with the DAC2. It combines active analog gain control, passive low-impedance attenuators, a 32-bit digital gain control and a servo-driven volume control. All inputs are controlled by the rotary volume control, and the volume control moves in response to commands from the remote control.

According to Benchmark, “analog inputs are never converted to digital, and digital inputs never pass through an analog potentiometer.” The digital inputs are controlled in 32-bit DSP, said to achieve optimal L/R balance, and precise stereo imaging, while avoiding any source of noise and distortion.

Benchmark also believes its unique passive output attenuators are key to the DAC3's performance, providing distortion-free gain reduction — without reducing the dynamic range of the converter. The attenuators are said to optimize the gain staging between the DAC3-HGC and the power amplifier. This optimization is essential for maximizing the dynamic range of the entire playback system, Siau noted.

Four balanced outputs are summed in balanced low-impedance I/V converters to form each of the two balanced output channels. National Semiconductor LME49860 op-amps (which can easily handle low impedance loads) are used throughout the audio path. An Alps motorized gain control is used to control the volume.

Sophisticated DSP

As with the DAC2, the digital processing path consists of a Burr-Brown SRC4392 Digital Audio transceiver, and a Xilinx FPGA running custom Benchmark firmware. The DSP functions include Benchmark's UltraLock2(TM) jitter attenuation system, asynchronous upsampling, automatic de-emphasis, PCM and DSD filters, DoP decoding (for DSD playback), word-length detection and sample rate detection. The DAC3-HGC uses distributed voltage regulation. Each critical circuit has dedicated low-noise voltage regulators. The circuit board has six layers of copper and includes 3-dimensional shielding for critical signals.

For jitter suppression, Benchmark relies on its UltraLock Jitter Attenuation and asynchronous USB2 input. According to Benchmark, the USB input uses an asynchronous USB transport mode to eliminate the computer and the USB connection as a source of jitter.

When the Benchmark DAC2 first came out there were just a couple of DACs with word length (bit indicator) indication. Benchmark has since added the feature to all the Benchmark D/As.

The USB input operates either in a USB 2.0 mode that supports sample rates up to 192 kHz, or it can operate in a driverless USB Audio 1.1 mode — which supports sample rates up to 96 kHz. The USB input mode is switchable from the remote, or from the front panel. The USB 2.0 mode does not require driver installation on Apple Mac systems. A driver package is included to provide USB 2.0 support on Windows systems.

As per the DAC2, the DAC3-HGC has a host of audiophile-focused functions: the SPDIF digital pass-through output, analog pass-through, sample rate and word length indicators and its DSD-over-PCM (DoP) compatibility — for playing DSD files.

The DAC3‘s front panel contains two low-impedance, load-handling headphone jacks, audio mute/dim switch, polarity switch, power switch, and motorized volume control. An assortment of input indicators and the sample rate and word-length indicators complete the front section.

When the Benchmark DAC2 first came out there were just a couple of DACs with word length (bit indicator) indication. Benchmark has since added the feature to all the Benchmark DACs. In my opinion, the bit status light or display on a DAC is key to show that bit-transparency is maintained from the audio player computer to the DAC.

The DAC3‘s sample rate/word length indicator section contains 16-bit and 24-bit LEDs for word-length verification, and 44.1/48 kHz LEDs and 2X/4X LEDs for sample rate status. Thus, if your incoming signal is 24-bit/96 kHz sampling, the indicators show the 24-bit LED, the 48 kHz LED and the 2X LED (48 kHz x 2 equals 96 kHz). A 24-bit/192 kHz audio file lights the 24-bit LED, the 48 kHz LED and the 4X LED (48 kHz x 4 equals 192 kHz). DSD signals are indicated by simultaneous lighting of the 2X and 4X LEDs.

The DAC’s back panel contains plenty of I/O. Ports include a two TOSlink and two coax inputs, one USB input, two sets of analog inputs, two sets of analog unbalanced outputs and one set of balanced XLR outputs. Digital input number four doubles as the digital pass-through (accomplished by moving an internal jumper). There is no analog balanced input or AES/EBU XLR digital input.

The remote control duplicates all front panel functions including input switching, volume, dim/mute, and polarity controls. The classy remote is made of aluminum and has a nice feel; the buttons are easy to operate. The motorized volume control makes minimal noise as its servo operates. When you turn on the DAC3, the servo goes through its self-check and will move for a few seconds, before stopping at the last setting. When you push the mute/dim button from either the remote or front panel, it will lower the level. Hit it again and it goes to the previous volume position.

The set up

I deployed the DAC3-HGC into my audiophile system, which consisted of MartinLogan Montis speakers, Pass Labs X350.8amp, and Benchmark’s ultra-quiet AHB2bipolar output amplifier. I used the DAC3 as a preamp, and as a DAC through my Rogue Audio RP-5 tube preamp.

Sources included an TASCAM DA-3000 hi-res player/recorder, Oppo BDP-105, an ASUS Android tablet with USB Audio Player Pro in the bit perfect mode, connected by USB 2.0; and a Macbook Pro laptop using Audirvana Plus.

Other DACs on hand for comparison included the Mytek Digital Brooklyn, a Benchmark DAC2-DX, the recently reviewed Bryston BDA-3, and the older Mytek Stereo 192-DSD

All analog, digital, and speaker cables were from the Wireworld Eclipse series. Power cords and power strip were courtesy of Essential Sound Products. For headphone listening, I used the AKG K702 Anniversary, the AKG K812, and the Oppo PM-1 and Shure SRH-1540.

The audition

With all the gear set up, I popped in a USB stick full of hi-res music and played it through the TASCAM DA-3000, which was connected to the DAC3 via the SPDIF coax.

First up, was a 24/192 dub of the Anthony Wilson— Our Gang SACD. This 2001 DSD-direct Groove Note Recording, is a simple jazz trio (jazz guitar, drums and organ), which has a sparse, minimalist hi-res feel — featuring a warm Gibson guitar/tube amp tone, the girthy sound of classic Hammond B3 organ and close mic’d drums with great air around the cymbals.

It takes accurate-sounding electronics to get this recording right. Components that are not clean on the bottom end make the recording sound midbass-heavy and the treble articulation gets lost — even with accurate speakers.

As good as the old DAC2 sounded, over time I found that it sounded a little warm in the bass that translated to a slight fatness in the midbass, depending on the recording’s bass presentation. Later, I found other ESS Sabre DAC chip-equipped D/As did the same. They exhibited a plump slowness in the more audible midbass. To my ears, it was a character of the 9018 chip. This warming was almost DSD-like.

The Anthony Wilson Trio title cut’s kick drum, and the midbass organ imprint was leaner, tighter and clearer. This allows the articulation of the air around the guitar notes and the cymbals to emerge to a proper balance.

However, with this new ESS chip that low-end “over warmth” is gone. The Anthony Wilson Trio title cut’s kick drum, and the midbass organ imprint was leaner, tighter and clearer. This allows the articulation of the air around the guitar notes and the cymbals to emerge to a proper balance.

I immediately noticed the improvement when A/B’ing the DAC3 and the DAC2. And it was confirmed by headphones, as well as line output through the preamp/amp path. I don’t know what ESS did in its new chip, or whether Benchmark tweaked the analog; or it is a combination of the two, but the emerging audio detail was more balanced than the DAC2.

And that is really the essence of the sonic improvement of the DAC3; the precision and air inherent in good recordings is noticeably improved with the DAC3. All my reference Pop and Jazz ensemble, piano recordings, acoustic guitar and nylon classical guitar recordings sound more dimensional and alive.

You know exactly what bit depth your music is with the DAC3

I dubbed one of the Three Blind Mice classic albums that had been transferred to SACD, The Tsuyoshi Yamamoto Trio - Midnight Sugar. The 24/192 PCM dub includes the title track, which is an 11-minute slow burn to a faster tempo of stand up bass, a very percussive piano and drums.

This 1974 analog tape, audiophile recording blends the right amount of space between the instruments with a potent piano velocity on the upper register notes. The DAC3 relayed a perfect blend of the instruments and serves up the piano note tinkle with plenty of attack, but no harshness.

And the clickiness of the stand-up bass string plucks is gorgeous and airy, but not overpowering — a great balance of the low-end and the high-end. On the headphones, I could really hear the difference of this cut over older DACs like the Mytek Stereo 192 - DSD, which was harder edged and thinner sounding. Or the $900 Resonessence Concero, which also contains an older ESS chip.

Benchmark's best D/A

I clearly heard audible difference when comparing the DAC2 and other older-generation D/As, additional A/B listening with more current DACs, with the levels carefully matched, the differences are harder to hear. Versus the stellar, do-it-all Mytek Brooklyn DAC (also an ESS chip), the results were very close, as was the case with the AKM-equipped Bryston BDA-3. The Brooklyn is about the same price; the Bryston is about $1,500 more. These are among the new-generation DACs that all give top-notch performance. For some audiophiles, the choices may come down to features and connections.

With the DAC3’s super fast PLL and switching relays, the DAC3 is pretty much an A/B switch. And the analog sources switch faster as well.

By the way, one other area of improvement for the DAC3 is its switching speed from one digital source to another. When switching from say USB to SPDIF or TOSlink, most DACs have a few second ramp-up period where the newly-switched-in audio sounds phasey and inaccurate before the sound stabilizes. It was always hard to accurately discern real differences when A/B listening through the DACs because the new sources always sounded different than the previous source. With the DAC3’s super fast PLL and switching relays, the DAC3 is pretty much an A/B switch. And the analog sources switch faster as well.

CD player, computer or smart phone: they all work with DAC3

Considering the audible bump in performance over the DAC2, the only real downside to the Benchmark is the fact it looks the same as the DAC2 (and DAC1). No upgraded look to the front panel. Also, the DAC3 does not offer the higher, native sample rates of PCM and DSD. (up to 384/PCM and 4X DSD) that other DACs offer.

I predict, however, that most audiophile listeners and existing Benchmark customers looking to upgrade their DACs will not care that 24/192 and 2.8MHz DSD are the max for the DAC3. After all, there are precious few PCM recordings beyond 192. And most computer programs will downsample the music to the DAC’s highest rate so it can be played. I played plenty of 2L 24/352 recordings through the DAC3 at 192 using Audirvana Plus. The quality was first rate.

The verdict

As with the original DAC1 and DAC2, Benchmark proves it can take advantage of the latest DAC chip technology and notch up the performance of its latest version D/A, the DAC3.

Though audible improvements in DACs these days are mostly subtle, Benchmark delivers a new, audibly superior version over the DAC2, plus added a few ergonomic upgrades, such as faster source switching. It does not look any different, but it certainly sounds different.

Although it came out late in the year, the DAC3 was worth waiting for, and it receives the EANStellar Sound Award and a last-minute slide into the Everything Audio Network Product-of-The-Year Award in the DAC category.

Brevis...

Price $2,499 per pair

Likes; exquisite ML sound, price

Dislikes: you can’t dislike this speaker

Wow Factor: a “best buy” electrostatic
Info: ElectroMotion EM-ESL

by John Gatski
It is no secret that I am a big fan of MartinLogan electrostatic speakers. I own a pair of the Montis and have reviewed it and the the ML flagship: the Neolith. Electrostatic speakers, set up correctly, relay a vast sense of sonic space that is addictive in the world of hi-fi listening.

Over the last few years MartinLogan has been able to take advantages of its newer electrostatic technology advances in bass woofer (powered and passive) and digital crossovers to bring their electrostatic speakers down to affordable levels. the case in point is the MartinLogan ElectroMotion EM-ESL reviewed here, priced at a shocking $2,499 per pair!

Electrostat’s rule

To you electrostatic newbies, electrostatic technology has been around for years. These speakers produce audio by electrically charging a thin membrane with an audio signal. Because of the low-mass of the electrostatic-panel driver and its dipole radiation properties, the driver’s essential audio character has been one of a vast stereo image with a fast, accurate tone in the midrange and treble — without multiple drivers and complex crossovers.

I quickly realized that the under-$2,500 EM-ESL electrostatics sound nearly as good as my $10,000 Montis. In my room, those live-like drum cymbal brushes and upper-register piano notes emerged in a wide, deep soundstage — but not exaggerated.

In the early years of electrostatics, bass performance did not match the upper band, but over the years, developments in driver efficiency, powered woofers, etc., has provided bass performance that now precisely matches the speed of the electrostatic driver.

The EM-ESL is a result of all ML’s continual progress in making electrostatic speakers. And it offers an upscale, sonic presentation for small-to-medium rooms at a ridiculously low per pair price under $2,500.

Features

The EM-ESL is built with a full-sized, 34-inch tall, curvilinear XStat electrostatic transducer that offers performance that is comparable to their upscale models. The MicroPerf transducer is mounted on a radical aluminum and composite AirFrame similar to those found on MartinLogan's flagship products. According to ML, AirFrame technology “rigidifies” the electrostatic panel without obstructing the playable surface area or interfering with ambience-enriching dipole sound radiation. At the same time, the AirFrame is said to provide electrical and acoustical isolation, minimizing intermodulated distortion caused by vibration and resonance.

The MartinLogan electrostatic Curvilinear panel

Employed in most ML electrostatic designs, the MicroPerf design optimizes the individual holes of the EM-ESL's electrostatic panel. The MicroPerf design substantially increases diaphragm radiating area, compared to the early ML generations, without compromising structural integrity. The resulting increase in output capability and efficiency allows the EM-ESL's panel to project extended bandwidth and dynamics.

Like every other modern ML electrostatic, the company's patented CLS™ (Curvilinear Line Source) technology enables construction of electrostatic panels as cylindrical sections and, most importantly, the horizontal curvature of the panel solves the problem of obtaining good high-frequency dispersion from a large radiating surface. And that is obvious when listening through ML speakers; I monitored off axis with EM-ESL and did not hear significant HF roll off.

To balanced out the wonderfully, airy spectrum of midrange and high-end sound, the EM-ESL supplies low frequencies via an 8-inch, high-excursion, audiophile-grade, doped-fiber cone woofer — custom designed by MartinLogan's in-house engineering team. Via the front-firing woofer, augmented by a bottom-mounted, flared port, that can reach nearly 40 Hz. Which is plenty low for most kinds of music.

Overall, specs include a 42 Hz to 22 kHz frequency response (plus. minus 3 dB), 91 dB sensitivity (91 dB/2.83 volts/meter), 500 Hz crossover. Recommended power is 200 watts or higher. The EM-ESL measures 52.1 inches tall x 9-inches wide x 16.3-inches deep at the woofer box. Weight is a very light 35 pounds, easy to unbox and set up solo. The frame and woofer box come in satin black and gloss black finishes.

MartinLogan also offers the EM-ESLX, which nets an additional woofer, and 6-inches more of panel surface. It is priced at $3,999 per pair

The set up

I Installed the MartinLogan EM-ESL in my audiophile listening room: about eight feet apart, six feet from the side walls, and three feet from back walls. I angled them in slightly, per the manual. Since electrostatics radiate from both sides, the wall behind the speaker is a vital part of the sound. Close proximity to the front wall allows for necessary reflections to make the electrostatic radiate its sound properly.

Since my floor is a solid concrete slab with a bit of carpet in the speaker mount area, I did not attach the supplied spikes. My own RTA bass response measurements was quite clean in the bass frequencies — down - 2dB at 45 Hz.

The 8-inch woofer gets a boost from bottom-mount port

Since electrostatic speakers need current, a pair of wall-wart DC adapters come standard with the speakers. Just plug then into wall. outlet. And the bottom-mounted speaker terminals offered plenty of space to plug in my Wireworld Eclipse premium speaker cables.

Two amp options powered the review speakers: the Rogue Audio Medusa tube/digital hybrid, a perfect match for electrostatics with its precision transient performance and signature linear frequency response. The other amp was a Pass Labs X350.8 high-power MOSFET output stereo amp — with its velvet, analog finesse and tubelike smoothness.

Other components used in the review process, included an Oppo BDP-105 universal player, Mytek Digital Brooklyn DAC/preamp, an Oppo HA-1 DAC/Headphone Amplifier, Rogue Audio RP-5 preamplifier, Coda High Current preamplifier, ASUS Android tablet with USB Audio Player Pro (super hi-res material), and a VPI Player turntable.

All analog and digital cables were Wireworld Eclipse, and I used Essential Sound Products Essence II component power cables.

For speakers, I compared the EM-ESLs to my MartinLogan Montis, a larger panel electrostatic with a powered 10-inch subwoofer. Other speakers in the test included Legacy Audio Studio HDribbon tweeter monitors, Westlake LC8.1 stand speakers, and a pair of Pass Labs SR2 tower speakers.

The audition

To get things started, I played my 24/192 dub of the DMP SACD: Warren Bernhardt— So Real, and focused my listening on the title cut. The “So Real“ track is perfect for sorting out how well loudspeakers can relay a natural sense of sonic space. Its hi-res presentation of Steinway piano, bass and drums provides an-almost live stereo image with incredible air around the drum cymbals and snare. The piano rings out those Steinway harmonics like a bell. Even mediocre speakers are graced by this recording, but exceptional speakers like the ML EM-ESLs are something else.

With the Rogue audio powering the EM-ESLs, I quickly realized that the under-$2,500 electrostatics sound nearly as good as my $10,000 Montis. In my room, those live-like drum cymbal brushes and upper-register piano notes emerged in a wide, deep soundstage — but not exaggerated. Just more expansive.

And the eight-inch easily handled the essential kick drum and up-right bass. In fact, for this recording the bass from the EM-ESL was just slightly less impactful than the active 10-inch woofer in the Montis. The Montis’ were a lot more money, and they contain a bigger, powered woofer. To be this close is amazing!

Switching to The Bach Solo Cello Suites— Janos Starker SACD (Mercury Living Presence), again, the EM-ESL shined — fluid bow-to-cello strings harmonics with a complex depth that I would not expect for this price. I also heard that bit of room reverb and Mr. Starker’s ever-present breathing and the minute bits of background chair squeak that permeate the playback. So much dimension with this smaller electrostatic.

Slim, sleek, and the EM-ESL's superb sound!

For small rooms that have ample back wall and side wall distance, I quickly came to the conclusion that a pair of EM-ESL’s are all the speaker many audiophiles would ever need. Sit down in your chair, dim the lights, pop the cork on the merlot, and let that hi-res music play. And did i mention that these speakers are under $2,500.

For a sampling of Pop music, I played the David Bowie— The Rise and Fall of Ziggy Stardust SACD. On the song “Rock and Roll Suicide,” the intro acoustic guitar/Bowie solo vocal emerges as big as life with a rich fullness on Bowie’s 6-string.

As far as EAN is concerned, the EM-ESLs are a best buy hi-fi audiophile speaker. With this much electrostatic performance, relative low price and compact size, the speaker is a no-brainer. They also get an EAN Stellar Sound and a 2016 Product of The Year nod in the Audiophile Speaker category.

Listening to the 24-bit hi-res version of Daft Punk’s "Get Lucky" hit, the Neo-Disco drum and electric rhythm guitar, courtesy of Nile Rodgers’ Fender Strat playing, was muscular enough with a solid kick drum performance and a generously spaced stereo image. Vocals were perfectly balanced without any of the tradition crossover/driver artifacts you hear on middle-of-the-pack conventional speakers.

I don’t like ultra-velocity Heavy Metal and ultra dense Pop on electrostatic speakers in my listening room, and the EM-ESL were no different.The dipole radiation of all the heavy guitar haze, at least in my room, is too much when you turn it up. I prefer recordings that are less dense.

That does not mean that loud recordings can’t sound good. Big band and brass sound quite good at over 90 dB peaks. I played the classic 1970s LP, the Cadillac Mack and The Detroit 4 audiophile pressing (trombone, bass, drums and piano). With the best buy VPI Player TT and Ortophon Red cartridge pressed into service through the Rogue Audio’ RP-5 phono stage, those meaty trombone runs magnified the recording’s powerful — fully fleshed without a hint of strain or blare. (I was surprised that the LP was in that good of shape).

This demo track also impressed me through the EM-ESL tandem: a crisp acoustic guitar sound with a deep width-of-space impression that never sounds false — just more magnified. It is hard to go back to conventional speakers when listening to this acoustic piece.

And on the 1979 Three Blind Mice reissue of the Bingo Miki and The Inner-Galaxy Orchestra— Montreau Cyclone (XRCD), the power of the horns was apparent via the ML’s.” On the cut “Cyclone From The East,” the chorus of horns and solo saxophone were immensely dynamic with a full, dimensional brass persona. No thin and reedy here.

To further showcase, the stereo image awe of an electrostatic, I played a hi-res home recording that I made in 2013. Using a matched pair of Audio-Technica instrument microphones and playing a custom Taylor dreadnaught guitar, I made a 24/384 demo track that has a broad, bold stereo image with a width and depth that really exposes the percussive guitar picking detail.

As with my Montis playback of the track, this demo track also impressed me through the EM-ESL tandem: a crisp acoustic guitar sound with a deep width-of-space impression that never sounds false — just more magnified. It is hard to go back to conventional speakers when listening to this track.

The verdict

Overall, I had zero complaints with MartinLogan EM-ESL pair. They have that classic, electrostatic sound spread and are balanced nicely with the single 8-inch subwoofer. Hi-res music is impressive through the ESLs, but your old CDs and records will sound pretty special as well. For an apartment or townhouse, or a secondary audiophile listening suite, I would not hesitate to buy a pair. You can even use them in a home cinema configuration with ML's center, surrounds and subwoofer.

As far as EAN is concerned, the EM-ESLs are a best buy hi-fi audiophile speaker. With this much performance, relative low price and compact size, the speaker is a no-brainer. They also receive an EAN Stellar Sound and a 2016 Product of The Year nod in the Audiophile Speaker category.

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