Essence HDACC II Everything Audio Network

Brevis...

Price: $599

Likes: sound, connections, A/D

Dislikes: no word length indicator

Wow Factor: HDACC II way above I

More info: Essence HDACC II

by John Gatski

In 2014, I reviewed the original Essence HDACC DAC. This $600 (now $399) all in one, HDMI v1.3 de-embedder, A/D, D/A converter was a handy, great sounding, audiophile device that could be fed by a universal Blu-ray player via HDMI, or by its assorted typical digital audio connections.

The fixed level A/D worked great for dubbing vinyl and the headphone impedance, through software adjustment, allowed the HP amp to work with most HPs.

The new HDACC II-4K has all the of the great features of the original, but adds a mobile 32-bit/384 sample rate ESS Pro 9028 DAC chip, which is where the HDACC II-4K gets most of its sonic advantage over the original HDACC. The new DAC also boasts four HDMI 2.0a (4K capable) inputs, a single HDMI 2.0a pass through output, and native playback of 2.8/5.6 MHz DSD via DoP.

The combination of HDMI upgrade, the new ESS Pro 9028 DAC chip and the increased upsample range keep the HDACC II-4K at the top of the heap when it comes to performance/value ratio of DACs in this price range.

Features

As with the original HDACC, the II-4K version is a sleek, half-rack size with just the right amount of control knobs and buttons and an easy-to-read OLED display. The front panel sports (l-r) a quarter-inch headphone jack, an eight-inch stereo analog input for the A/D, the OLED display, and the control knob/volume control.

Round back are four HDMI 2.0a input jacks, an HDMI v2.0a output jack, digital SPDIF coax and optical inputs and outputs, USB digital input, which can handle up to 24-integer/384 kHz sample rate PCM and DSD via DOP via USB and HDMI.

For $599, the Essence HDACC II-4K receives a major uptick in audio quality plus HDMI 2.0a compatibility. Its small foot print, connection prowess and the ability to handle most any headphones or drive an amplifier with the upgraded sound extends its reign as the Swiss Army Knife of D/A converters.

The SPDIF TOSlink and Coax connections handle up to 24-bit/192 PCM. The unit contains analog XLR outputs, as well as and RCA unbalanced and the 1/8th-inch analog input jack for the fixed level 24/192 A/D converter. The latter can be sampled rate controlled from 24/44.1 through 24/192 and fed through the SPDIF and TOSlink outputs on the rear panel. The HDACC II-4K lost a bit of connection compatibility, compared to the original, when the A/D’s rear panel analog RCA input jack inputs were eliminated to make room for more HDMI inputs.

Speaking of HDMI jacks, the four HDMI 2.0a jacks are compatible with all HDMI sources. Thus, you can use the DAC as the D/A converter for your TV, cable box, BD player, streamer, etc. For those who use their high-end BD players {late model Oppo, Denon, Marantz and Pioneer) as hi-res players Blu-ray and USB thumb drive for up to 24/192 stereo, the HDMI inputs are perfect.

Essence HDACC II Rear Panel Everything Audio Network

A full array of connections including balanced outputs.

Operationally, the HDACC II-4K works just like the original with a combo push/button rotary volume control doing double duty. The volume control is a volume control until you push it. It then opens up the bluish, easy-to-read OLED based menu, which allows the user to toggle through the different modes including the Input, sample rate converter, input impedance and HDMI output control. Once you push the knob to get it in the Menu mode, you then toggle through the mode choices via the rotary action of the volume control. Once you reach the desired mode. You push the knob again to engage the mode.

Once you are in the desired mode, you rotate the knob again to toggle through the mode’s settings. Then you push the button again to lock in the settings choice. It is pretty easy

For the Input Source menu item, the connection choices are HDMI 1-4, Coax, Optical, USB, Line: Output Connections: HDMI, coax, optical, and analog XLR,Line RCA.

The SRC (Sample Rate Converter) operates at: 44.1K, 48k, 96K, 176K 192K, 384K. A bit odd there is no sample rate choice at the 352.8 sample rate, the only ultra hi-res rate now being commercially used, but that is not a big deal since it plays native all the way to 384K.

FīBBR Tech Ultra Pro cable a perfect fit for HDACC

The headphone impedance menu options are 16 ohms, 32 ohms, 64 ohms, 200 ohms, 300 ohms and 600 ohms, which allows the user to match the impedance of any headphones. My AKG K702 and AKG K812 HPs were driven to fairly high levels at the lower impedance values.

The other menu items include HDMI Output Transmit, which allows the choice of audio/video or both from the HDMI output jack; and the screen timeout duration, five or ten seconds.

The set up

I auditioned the HDACC II-4K with my trusty AKG K702 Anniversary, Sennheiser HD-600 and Shure SRH 980 headphones. I also connected the HDACC II-4K’s balanced and RCA outputs to my Rogue Audio RP-7 tube preamp, which was connected to a A First Watt F7, an all Class A MOSFET amp, which drove my MartinLogan Impression electrostatic loudspeakers. And as I expected, based on my experience with other DACS that were switched to the newer ESS pro DAC chips, the sonic improvement is quite audible.

The audition

On the very first play of music through the headphones, I could hear the new HDACC II-4K’s advantage. The original, ESS 9016 D/A chip-equipped HDACC sounded very good, but it had that slightly warm, rounded edge to the transients sounds that made PCM sound like DSD, a little too smooth for my taste. The newly implemented ESS Pro 9028 chip sounds amazingly accurate with abundant transient energy and air, even on a modestly priced unit like the HDACC II-4K.

Via the headphone jack and line output, this $599 DAC sounds like a million bucks! The DSD-to-PCM transferred “So Real” track from the Warren Bernhardt Sio Real SACD from 2001 (recorded by Tom Jung) relayed that amazing air of the drum cymbals and snare rim shots. Stereo image was quite spacious for this price range.

With my smart LG V20 phone, an OTG cable and the USB Audio Player Pro Android app, I played scores of hi-res music tracks, PCM and DSD, and came away with such a high regard for the audio performance of this DAC.

On Joshua Bell’s rendition of the Tchaikovsky Violin Concerto No. 1 in D from a 2003 live-to-two track SACD, the complex hues of the Mr. Bell’s violin textures and the orchestra’s powerful, lush projection was clearly out front.

On Joshua Bell’s rendition of the Tchaikovsky Violin Concerto No. 1 in D from a 2003 live-to-two track SACD, the complex hues of the Mr. Bell’s violin textures and the orchestra’s powerful, lush projection was clearly out front. If you like accuracy and musical involvement on a budget, this $600 DAC will impress you.

The HDACC II-4K’s upsample feature is great for 16-bit/44.1 recordings, the upsampling filtering process at half the sample rate (192 kHz nets a filter slope to 96 kHz, which lessens the hardness of the 44.1 sample rate’s filter effect (22 kHz). In my opinion, all 44.1 PCM shows improvement with upsampling.

I played some of my own classical guitar recordings recorded in 24/192 kHz with professional gear and also found the HDACC II-4K’s playback quality impressive. In fact, because of the unit’s compact proportions, I found it the perfect companion for my Macbook Pro lap top music editing set up. And I could use the HDACC II’s USB or the HDMI connection with my Mac

HDMI pushes higher
Speaking of HDMI, the HDMI 2.0a spec inputs give you the best signal possible for the HDMI conduit. On two channel audio, it does not make an audible difference, but if you are using the HDACC II-4K more as an audio de-embedder than as a pass through HDMI 4K conduit to your 4K LED TV, you will be impressed with video quality.

When testing an Oppo BDP-203, using the HDACC II-4K to listen to a stereo soundtrack of the AIX Record’s Mark Chestnut— Live Blu-ray, the standard 1080p presentation of the live, on-stage video image of the performance was incredible. Very sharp and dimensional when played through my 2009 LX-929 Sony Bravia LED. I can only imagine in 4K.

Part of the reason for that video clarity and depth was the HDMI cable that I was using, the FīBBR Tech Ultra Pro HDMI Fiber Optical Cable, a HDMI 2.0a compliant cable that delivers hi-res audio and video through active Fiber Optic. And it is a very reasonable cost (only $180 for a 15 ft cable).

This cable is way less bulky than many high-end, copper conduit HDMI cables, easy to route in any length, and the video always looks stunning. I can’t wait to try it on a 4K set with native 4K videos, judging by what it does for 1080p. Multichannel audio, in the highest channel count, should also benefit from such a high bandwidth cable.

Analog choices

On the analog front, the HDACC II-4K also offers quality sound via the stereo balanced or unbalanced outputs. It sounds pretty darn good as a preamp with reasonable resolution at various volume settings. You can use the HDACC II-4K as your audio preamp in a good system, and you will not be disappointed.

I found the A/D converter quite useful for dubbing vinyl with an old Macbook Pro mid 2008 that had an 24/96 optical input connection. I set the SRC to 24/96K and dubbed several of my original Telarc LP’s that had been done on digital tape before being transferred to LP in the late 1970s.

The newly implemented ESS Pro 9028 chip sounds amazingly accurate with abundant transient energy and air, even on a modestly priced unit like the HDACC II-4K. Via the headphone jack and line output, this $599 DAC sounds like a million bucks!

As with the original HDACC, the final audio signature of the A/D was very good, but the lack of input gain control means you need to have gain either in your recording source, or you add gain from your computer editing program. The 1/8th-inch jack input is plenty good for vinyl dubbing. I used a Monster Cable 1/8th-inch to stereo RCA female adapter for the turntable/preamp end.

Overall, I had no significant complaints about the HDACC II-4K, in fact it so much better sounding than the original that its primary review impression is one of a premium upgrade. The sonic performance increase, coupled with more HDMI inputs, makes it a nearly perfect DAC for those who want quality but are not willing to go much past $500. My only HDACC II-4K want is a word length indicator.

The only real quibble is that you have to wait for the screen timeout after you complete a memory function to change the volume. The five second choice is better if you are impatient like me.

The verdict

For $599, the Essence HDDAC II-4K receives a major uptick in audio quality plus HDMI 2.0a compatibility. Its small foot print, connection prowess and the ability to handle most any headphones or drive an amplifier with the upgraded sound extends its reign as the Swiss Army Knife of D/A converters.

Everything Audio Network Stellar Sound Award Image

Even if you own higher-end DACs, the HDACC II-4K will still find a place in one of your listening systems: enhancing the audio experience of your bedroom TV, using it as a USB DAC for your smart phone, or just as a DAC/preamp for your modest den, the HDACC II-4K is well deserving of the EANStellar 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 SoundOnSound, 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 email: everything.audio@verizon.net

©Everything Audio Network.

Brevis

Price: $2,995

Likes: ultra accuracy with gain

Dislikes: absolutely nothing

Wow Factor: really hear your HPs!

More info: Benchmark HPA4

by John Gatski

In the 23 years I have been reviewing Benchmark audio products, the company’s design moniker has always been clean, accurate sound. With the company’s pro audio origins, you would never hear a less than revealing, or a colored audio device out of the Syracuse, N.Y. factory.

Hence, their latest product, the marvelously open and clean high-end headphone amplifier/line stage, the HPA4. It is one of the most transparent audio products I have ever heard at any price. This new custom designed, 256-step relay volume control HP amp/line stage is incredible in its transparency and ability to get out of the way when listening to accurate sources with accurate headphones. Just as impressive, the line stage delivers volume control that many an esoteric analog or digital preamp could only dream of.

Features

Priced at $2,995, the HPA4 is a co-design by Benchmark and THX, Ltd. using the THX Achromatic Audio Amplifier (AAA™) technology that was implemented in the Benchmark AHB2 amplifier a couple of years ago. According to Benchmark, the THX AAA™ reduces harmonic, intermodulation and crossover distortion by 20 to 40 dB to guarantee a realistic and fatigue-free listening experience. According to Benchmark, it accomplishes “ultra clean” sonic delivery (.00006 percent distortion and an A-weighted S/N of 135 dB!) using a patented, feed-forward topology to null conventional distortion and noise mechanisms.

I cannot stress enough how the HPA4 just gets out of the way so you can listen to your music and the components in your chain. The HPA4 is sonically neutral, distortion free and deeply dynamic. At any level, it will let the music shine through with no added color.

The THX AAA circuit allows the HP amplifier to reach its maximum output power and sound pressure level (SPL), without producing the distortion that normally accompanies increased output levels in traditional amplifiers. Benchmark Vice President/Chief Designer John Siau said the THX-888 amplifier is driven by a custom-designed Benchmark line amplifier that features relay-gain control, relay input selection, and relay muting. The line amplifier incorporates the finest gold-contact relays available.

The rotary relay gain control features 256 steps in 0.5 dB increments. The HPA4 includes four independent 256-step attenuators: two for the left and right headphone outputs, and two for the left and right line outputs. To make this all happen, the HPA4 includes a total of 64 precision NEC relays.

Benchmark HPA4 Rear Panel Inputs/Outputs

Enough inputs for a basic balanced/unbalanced audiophile rig

The volume control knob features a high-quality, optical encoder that is rated for heavy use. An acceleration feature makes it easy to move through the 256 volume steps while maintaining 0.5 dB/step resolution. A press of the control knob toggles between headphone volume, line out volume, or both.

Siau said the volume control’s relay closures are precisely timed to deliver silky-smooth volume changes. “No other relay gain control offers this level of precision and performance,” he noted.

Specs At A Glance

Benchmark HPA4

•THD: -125 dB (0.00006%)

•SNR: 131 dB, unweighted, 20-20 kHz

•SNR: 135 dB, A-weighted

•Frequency Response:- 0.006 dB at 10 Hz: -0.014 dB at 20 kHz

(-3 dB Bandwidth exceeds 0.1 Hz to 500 kHz)

•Output Impedance: near 0 Ohms

•Output Noise: 2.45 uV at Unity Gain, 20-20 kHz

•Maximum Output Power: 6 Watts into 16 Ohms

•Maximum Output Current, 1.5 A

•Maximum Output Voltage: 11.5 Vrms into 300 Ohms

•Crosstalk: -133 dB @ 1 kHz, -115 dB @ 10 kHz (XLR4)

The HPA4‘s headphone output sports a 1/4-inch TRS and a 4-pin XLR. Benchmark recommends, when possible, use of the XLR inputs, due to the lower contact resistance. The HPA4 features two balanced stereo inputs and two unbalanced stereo inputs. The line amplifier provides one balanced stereo output, one balanced mono sum, and one unbalanced stereo output.
The HPA4 includes IR remote control and can be operated using the optional Benchmark remote ($100). You can use it with Benchmark’s highly rated DAC3 converters, as well as any other source with an analog output. When paired with a Benchmark DAC, a single remote control will operate both units.

Setting the DAC’s volume controls to 0 dB (or bypassing its volume control altogether), then relaying the signal through the HPA4 nets an ultra HP accuracy at any level that is extraordinarily clean.

The HPA4 is an obvious complement to Benchmark‘s well-reviewed AHB2 amplifier. It may be the only preamplifier or line amplifier that exceeds the signal to noise ratio of the ultra-quiet AHB2. For pure performance, Siau says: “The HPA4 is the only line amplifier/preamplifier that we recommend inserting between a DAC and the AHB2.”

LED operation

Besides the impressive performance, the HPA4 is Benchmark’s first product with a LCD touch screen that enables most functions of the unit. The screen provides access to advanced features such as balance control, input level offsets, input names, screen dimming, remote control, and function locking. Help screens explain the special functions. The HPA4 includes independent on-screen mute buttons for the headphone and line outputs. Both can also be muted with the volume knob or with the optional remote control.

DCHi-Fi Group members heard an early HPA4 demo July 28

The HPA4 includes an on-screen -20 dB dim button that instantly reduces the level by 20dB. This function provides a temporary volume reduction and an easy return to the previous listening level. This control makes it easy to transition between a normal listening level and a background level. The dim function is also accessible from the optional remote control.

The inputs can be renamed and unused inputs disabled. Input levels can be trimmed to provide exact input-to-input level matching. The LCD’s brightness level is adjustable, and timers can be set to dim or shut off the display. The screen also can be locked to prevent access to the advanced features, such as balance and trim.

The 3RU tall HPA4 is available with a black or silver faceplate and is designed to match the Benchmark AHB2 power amplifier. It occupies the same width and length footprint as the Benchmark DACs. The case features a milled faceplate and milled sides. Top, bottom, and rear panels are made from thick aluminum and feature a brushed texture.

Operationally, the HPA4 features two bi-directional 12V trigger ports that can be used to link the HPA4 with external D/A converters and power amplifiers. The trigger signal controls the power-up and power-down sequencing of the entire audio system.

The volume control matters

In my opinion, the key to a superior volume control is how it sounds when you turn it down. Most good volume controls (analog or digital) can sound pretty good when you turn them up, if the distortion is low and the HPs or speakers can handle the level.

Turning down the volume control — to accommodate optimum listening without killing your ears — often correlates to reduction in accuracy. Little bits of information may disappear or get changed when turning down the level. A really good volume control should reveal the audio, but in its reduced level state. You should be able to hear the gentle room reverb of drum cymbal or ringing piano note decay as you turn the volume down.

Precision parts includes six sets of NEC relays used in the HPA4

With many DACs with digital volume controls the subtle detail, natural space and air that a good recording contains gets reduced or disappears, when you turn down the volume. Some still truncate the digital resolution The newer 32-bit digital volume controls are better, but I still believe that a well-designed, analog volume control, such as the Benchmark HPA4 with its precision relay and ultra quiet amp section, sounds the same at reduced levels as it does when it is turned up.

The set up

During my review. I auditioned the HPA4 in numerous configurations for headphone listening, driving amplifiers and even as a front end for an A/D recording setup that needed more gain. Plenty of uses for a preamp this quiet and accurate.

For headphone listening, I had a long list of demo cans, including my AKG K702 Anniversary, Sennheiser HD-650, AKG K812, Oppo PM1 planar magnetic headphones and the Audeze LCD-XC. DC Head-Fi Chapter Member Amar Rajvanshi, an avid headphone listener and designer, also brought over the Sennheiser HD-800, his own custom-designed open back Auroras Borealis, the ZMF EIkon and a HiFIMAN HE6.

As a line stage, I connected the HPA4 to several amps including the aforementioned Benchmark AHB2 (bipolar), a Pass Labs X30.5 (MOSFET), Rogue Audio’s hybrid tube Class-D Medusa, and even an old, original McIntosh MC275. Other HP amps included the Oppo HA1 and a Bryston BHA1, which are much lower in cost.

Sources included Macbook Pro with Audirvana Plus software player, Oppo BDP-205 universal player, and a TASCAM DA-3000 professional Hi-Res stereo recorder player. Playback DACs were numerous: the Benchmark DAC3, Mytek Digital Brooklyn Plus and Manhattan II, Prism Callia and a TEAC UD-503. All the DACs had onboard volume controls.

For the HPA4 and line preamp output listening sessions, I listened via MartinLogan Impression electrostatic speakers — and the Westlake Audio Tower 5 and Lipinski L-505, both very accurate point source speakers and good analytical tools for evaluating electronics.

All wiring was done through Wireworld Eclipse line of analog and digital cables. Essential Sound Products Essence II power strip and cords connected all the gear to the AC.

The audition

With the first play of the DMP Label’s DSD title track of Warren Bernhardt— So Real, as played via the Macbook Pro/Audirvana Plus through the Benchmark DAC3-HGC output connected to the HPA4, I could immediately hear how accurate the new HP amp is.

The DAC’s precise DSD decoding delivers the recording’s pristine, airy, brushed drum cymbal tone with the brilliant Steinway piano and bass pulsing the rhythm. The minimalist mic technique, direct DSD recording chain and no post-processing showcases as close to live as you can get with a recording, and the Benchmark HPA4 delivered that transparency at any volume level.

As good as the DAC3 (and Mytek DAC volume control in the HP amps are), the musical closeness and transparency is not quite there when reducing the respective onboard volumes. Setting the DAC’s volume controls to 0 dB or bypassing its volume control, then relaying the signal through the HPA4 nets an ultra HP accuracy at any level that is extraordinarily clean.

DC Head-Fi Chapter Member Amar Rajvanshi was impressed by Benchmark’s dynamic accuracy: “With the Benchmark, the HP amp just gets out of the way so you can listen to the music, the source and the HPs — without any color from the amp. It is really good.”

When I turned down level, I could still hear the exquisite, precise imaging of the brushed drum cymbals, the snare rim shots and the tasteful Steinway piano notes. I am talking about real musical accuracy, not some euphonic coloration definition of being musical. I am talking about the way music sounds live in a great room, dimensional and full. That is what I hear from the HPA4.

I played the cut umpteen times with various headphones; AKG K702 Anniversary and the Audeze LCD-XC saw a lot listening time with their expansive imaging and transient energy, and Amar’s own open-back design Aurora Borealis. were incredibly airy and accurate as well. Really comfortable.

The HPA4 handled all of them with ease. The music was relayed and passed through the HPA4 via the unique audio character of each HP, but most sounded quite good. To my ears, the HD-800 had a slightly spiky, low treble character on some material, but the imaging was detailed and amply spaced. The HD-650 was more neutral.

Amar was impressed by Benchmark’s dynamic accuracy. “With the Benchmark, the HP amp just gets out of the way so you can listen to the music, the source and the HPs — without any color from the amp. It is really good.” We both noted how musically precise and audibly truthful the “So Real” track sounded through his custom-designed ‘phone.

I switched to the 24-bit upsample of Charlie Byrd’s “Ring Them Harmonics” (The Guitar Artistry of Charlie Byrd). Love those percussive, nylon string pick leads from this 1963 recording as it interplays with the drums. Other than the hiss, it is quite dynamic and revealing. Again, the HPA4, revealed that ample spread of the instruments with an open width and depth that my AKG K702s can deliver.

Pleasurable Listening: Benchmark HPA4 /Audexe LCD-XC HPs

This vast stereo image, fast dynamic response and accurate musical reproduction via the HPA4 were confirmed by my HD-650, the AKG K812 and the Audeze LCD-XC. There are varying levels of frequency emphasis on all these headphones, but overall, the HPA4 revealed them all to a positive listening experience.

The HPA4’s volume control also enables one to also get great sound out of far less expensive pieces of audio gear, provided you have a good audio path in the 0 dB or bypassed mode. Because the Benchmark DAC3 and the Mytek Brooklyn + DACs are so good in the 0 db or the bypassed mode, their satisfying playback is expected at their price range. However, I found that with the HPA4, a $1,000 source also sounds really good using the HPA4 as the HP amp or as a line stage preamp.

For instance, TEAC UD-503 is a great-sounding, budget DAC via the line out to a preamp when setting the volume to 0 dB. The internal digital volume control, however, loses some sonic resolution when you turn it down.

But the sound of the TEAC’s AKM DAC chip was quite good when when running its fixed line 0 dB output into the HPA4 and listening with my AKG K702s. The AKM chips are pretty close to the ESS Pro. Ditto when using the HPA4 as a line stage with TEAC.

Classics sound classic

I switched to Classical music on the Audeze LCD-XCs and played the SACD-to-DSD file transfer of Arabella Steinbacher — Bela Bartok’s Two Violin Concertos on Penatone. This violin recording has a rich string harmonic persona from the Stradivarius and a spot-on recording set up in terms of orchestral/violin balance.

With the AKG K702/HPA4 setup, the violin’s impression was so live like. Turn it up or down, the image, outer-edge instrument detail, the focused solid center image never changes. It is so involving listening to headphones through the Benchmark HPA4.

Same excellent tone with the Isabelle Van Keulen/Hannes Minnaar— Beethoven Complete Sonatas For Violin and Piano recording, a Challenge Records four SACD box set. This winning combo was played through the Oppo BDP-205’s fixed balanced output, connected to the HPA4 with the HPA4 doing the volume changes and output amplification. The line output was routed to a Benchmark AHB2 amp and a pair of Martin Logan Impressions electrostatics

The HPA4 also comes in silver. Touch control LED is brilliant.

As a line-stage, the HPA4 was quite adept at delivering this pristine live to two-track violin/piano DSD recording. The instruments are perfectly placed, the music impeccably played with a fleshed-out violin tone and very percussive piano signature from Mr. Minaar.

It showed you how good the now-defunct Oppo player is with Hi-Res. The ESS Pro 9038 DAC chip has incredible resolution, and using its fixed output with the Benchmark HPA4 reveals all the detail this recording possesses. Playing this SACD and countless other Hi-Res recordings showed how transparent the HPA4 line stage really is.

If your source of music sounds less than Hi-Fi, don’t expect the HPA4 to “colorize” it for the better. It is a brutally honest preamp/headphone amp that will show you the weak links in the audio chain.

I found myself relying on the HPA4, as well, for other product reviews because it is so transparent. From an accuracy standpoint, it sounds better than $20,000 preamps I have heard. And oh-so clean. Using it with the under review First Watt F1, as well as my standby amps — Bryston 14-BSSTII and even the Rogue Audio Class D/hybrid Medusa, — my Hi-Res recordings could not have sounded better through another preamp.

Now if your source of music sounds less than Hi-Fi, don’t expect the HPA4 to “colorize” it for the better. It is a brutally honest preamp/headphone amp that will show you the weak links in the chain.

For example, with a 1994 Denon CD player as the source, I could clearly hear its sonic edginess in the midrange and treble while playing an old 1980s GRP jazz recording. Those early 1990s DACS were often shrill sounding. The HPA4 showed the CD player as it really is. Yuch said my ears.

However, when I digitally connected the Mytek Brooklyn Plus or the Benchmark DAC3-HGC to the same player, then connected it to the Benchmark HPA4 as the line-stage preamp, the old GRP CD album sounded like a million bucks. Didn’t sound shrill at all.

Easy to use

I should say that, ergonomically, the HPA4 performed flawlessly, the on-screen source selection, volume preset, balance, mute and gain menus allowed me to tweak the HP amp for a variety of different sources and HPs. It is very easy to use in terms of set up. I love the on-screen mute for either line or HP output or both.

A handy feature of the HPA4 is its ability to change the input gain by using the Boost function, for very precise level matching of sources, etc. Or if the source level is too high or too low. It allows +10 dB, -10 dB in half dB steps. Very handy. Every preamp ought to have that feature.

The Benchmark HPA4 is one of the most transparent headphone amps I have ever heard — at any price. Just as impressive is the line stage, which delivers volume control that many an esoteric analog or digital preamp could only dream of.

Other useful menu adjustments include the separate L-R balance in .5 dB steps for both the line and HP outputs. And there is a -20 dB “Dim” mode for answering the phone, or when the wife says time for dinner.

With the precision relay potentiometer, you will love the clicky feel of the analog volume control. It felt so solid and substantial that I never used the remote except to see that it worked. I loved to crank it up and feel the clicks.

Speaking of cranking up, the HPA4 feels like it is always cranked up, in terms of heat; this bad boy runs warm if you leave it on all the time. Combo it with a warm-running DAC stacked on top and you got some heat. Not super hot, but noticeably warm.

The verdict

To say I am impressed with Benchmark HPA4 would be an understatement. One of the best HP amps and line stages I ever have heard in terms of transparency and accuracy. The ultra-low distortion, its ability to drive any headphone, plenty of connections and the cool factor of the LCD screen menu selection: it is darn near perfect.

I cannot stress enough how the HPA4 just gets out of the way so you can listen to your music and the components in your chain. The HPA4 is sonically neutral, distortion free and deeply dynamic. At any level, it will let the music shine through with no added color.
Based on my impressions, the Benchmark HPA4 receives two Everything Audio NetworkStellar Sound Awards. One for its headphone amp and one for its line stage. Folks, it is that good.

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 SoundOnSound, 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 email: everything.audio@verizon.net

©Everything Audio Network

Brevis

Price: $3,985

Likes: very clean, smooth sonics

Dislikes: RCA jacks are on front

Wow Factor: nothing like a tube amp...

More Info: McGary Audio SA 1

by John Gatski

I have owned more than 30 tube amplifiers since 1988, including classic amps from McIntosh, Marantz and Scott — all the way to modern units from Rogue Audio, Manley VTL, etc. And everything in between.

What I have found is that most tube amps always sound good, if choosing the appropriately matched speaker, but they often don't meet my accuracy expectation. Warm and musical is good, but I want a piano, drum cymbals to sound like real musical instruments, not like they are run through a tone control. I also have encountered some modern tube amps that sounded strident, sterile and hard to listen to.

I am happy to report that this modestly powered, 30 watt KT77 amp, the SA 1, from McGary Audio is a terrifically balanced sounding tube amp (within its power range) that also met my “audio realness” requirement. The SA 1 also netted that smoothness quotient that you expect from a tube amp. And it could handle most speakers to a reasonable level for my listening preferences.

Features

Retail priced at $3,895, the SA 1 is a rated 30-watt-per-channel (RMS) low-distortion, 40-Watts Per Channel (RMS) waveform clipping (8 Ohm Load) ref: 20Hz – 20 kHz bandwidth. The open-chassis amp features a Class A/B push-pull design. The signal to noise ratio is greater than 85 dB unweighted/unfiltered and referenced to full rated output power at 1 kHz.

After a long run of sold state amps, it was nice to hear how competitive tube amps are, in terms of an ample sonic balance of accuracy, and ease of listening. Although 30 watts does not seem like a lot of power, for most modern listening rooms, with efficient speakers, it is plenty of power.

Onboard connections include 4-, 8-, and 16-ohm speaker output taps with gold-plated speaker binding posts and gold-plated, RCA input connectors. My only quibble is the front-mounted RCA jacks inputs. I like 'em on the back, but vintage amps used to have them on the front. The USA-made, 13-gauge steel chassis is powder coated throughout (mint green metallic base with satin black top plate).
You get other audio tweak niceties for your money including: ceramic tube sockets (attached directly to the chassis), point-to-point, hand-wired connections with 16-gauge Teflon-insulated, silver-plated copper wire, and Cardas silver-solder for all electrical connections with star grounding employed. A detachable IEC Pangea power cord also is provided.

SA 1 tubes made for HQ audio — and they were quiet!

The tube complement includes two NOS General Electric input tubes (6BQ7A), two driver (6SN7GTB) vacuum tubes, four new Russian KT77 matched Gold Lion output vacuum tubes The SA-1’s self-bias tube circuit requires no manual bias adjustments and is configured for ultralinear operation to get as much power as possible from the design.

The amp's dimensions are: depth = 13-inches, width = 17-inches, and height = 8.5-inches. The unit weight is hefty 46 pounds. The amp’s power system is the standard 120V-60 Hz/240V-50Hz (electrically configurable, please inquire if purchasing product for use outside the USA).

McGary said the SA 1 was “electrical engineer designed and handmade in Gainesville, Virginia" with a (transferrable) lifetime warranty (excluding the vacuum tubes, which come with a 90-day warranty).

Color options for the SA 1 amplifier enclosure, top cover plate and the transformers can be customized for an additional cost.

The setup

I mated the McGary SA 1 with several sets of speakers including the powered, subwoofer-equipped MartinLogan Montis, a pair of Amphion Argus, Studio electric S4 and a pair of Westlake Lc8.1 bookshelf speakers. I even powered a set of James Audio outdoor speakers, with good results, in my back yard.

On the Bach Complete Cello Suites, Janos Starker, Mercury Living Presence; those rich cello hues, the room reverb and the subtle bowing sounds were all there — with a generous sound stage that was wide and spacious.

For digital music playback, I used several DACS, including a Benchmark DAC-3-HGC, Mytek Brooklyn II and the Prism Callia; all could handle high sample rate 24 bit as well as DSD. The D/A outputs were connected to the line-stage of the Benchmark HPA-4 with its discrete, relay control volume circuit that is as transparent as I have ever heard from a preamplifier.

Interconnects and speaker cables were courtesy of Wireworld Platinum Series ,and all AC was routed through Essential Sound Products Essence Power cords and power strip. I let the amp burn in for two days before doing in-depth music listening. Usually, a tube failure will happen in the first couple of days, but there was nary a noise, tick pop, or obvious hiss. Just a little, down-low level hiss.

The audition

As soon as i connected the McGary SA 1 to the Martin Logan Montis electrostatic speakers, I was hooked. Similar to Rogue Audio tube amps, this little guy has a smooth persona, but enough accuracy to satisfy picky, full-time audiophiles such as myself.

Although the Montis is self powered in the bass, the SA 1 revealed itself with a detailed top end with an abundant midrange that is neither overbearing or recessed. On the Warren Bernhardt — So Real DSD rip, the title track’s Steinway piano exhibited that high-register note tinkle that the recording is known for and that enveloping brushed drum cymbal sound and snare hits all came through with a warm precision.

On the Bach Complete Cello Suites, Janos Starker, Mercury Living Presence; those rich cello hues, the room reverb and the subtle bowing sounds were all there — with a generous sound stage that was wide and spacious.

Sure, it is not the most powerful amp, nor the cheapest, but this amp blows away many of the classic amps. Playing the amp full range through a pair of Westlake Tower 5 speakers, I finally got to hear the bass performance. The sound via the McGary was much tighter in the bass than my vintage Macintosh MC275 when playing Pop/Rock music and bass-prominent Jazz. The old Mac was sweet, but reserved with a midbass bloom that lingered. The SA 1’s bass performance was much quicker, and dynamic.

Speaker connections and power cord ports

In other listening sessions, I found out how versatile the McGary SA 1 is. On the Queen— The Game and the The Grateful Dead— American Beauty DVD-As (remember those), the SA 1 also had much more midrange focus and top-end sparkle than the Mac with the larger Westlake speakers. The old Mac was lumpy sounding by comparison

Even on tympani rolls from big orchestral pieces, the McGary/Westlake combo cranked loud enough for me (the low 90 dBs) level without clipping or low-bass mushiness; this is a clean tube amp — if you like to listen at typical levels. Sure it will clip if you crank it loud enough. But for small-to-medium rooms, it gets plenty loud with clean, smooth power.

BTW, the Benchmark HPA4 HP amp/line stage is so clean and transparent that the preamp is not a factor in terms of audio color. What I was hearing was the McGary amplifier and the DAC. The McGary amp’s true character: smooth, yet present, with a delicate realness, was always there.

If you want to couple a tube preamp to the SA 1, and you have some extra coin, I recommend the Rogue Audio RP-5 or RP-7. Both exhibit a transparency not typical of tube preamps, in my humble opinion; they are easy to listen to without undue dampening of the transients like the older tube preamps.

I listened via my personal Rogue RP-7 preamp using the TEAC UD-503, an AKM chip based D/A converter with music streamed via a Macbook Pro and Audirvana Plus software player. I found the combo to be musically satisfying with elemental “musical ease” that did not choke off the upper end detail. Base was solid, and unbloated.

Bottoms up!

Listening to a pair of Studio Electroic S4 bookshelf speakers with this system, my audio impression, of the Rogue preamp, McGary amp and Benchmark DAC3-HGC, was totally positive. “A nearly perfect collection of components for those who like their digital via tube playback,” my notes said.

I should mention that I love the sound of the 6SN7 tube used as drivers in amps and preamps. Its sonic finesse is so popular that the tube was resurrected about a dozen years ago but manufactured in Russia and China. It is linear, yet smooth and clean tube. I owned a Rogue Audio Model 99 for years. However, I often had problems finding 6SN7s (including the newly manufactured ones) that stayed quiet in terms of low microhonics, pings or pops.

These USA-NOS GE 6SN7s that Mike McGary matched for the SA 1 were incredibly quiet all through the review process. I never heard any extraneous noise, and they were vitally microphonic-free with my pencil tap test.

As I mentioned earlier, for grins I powered a pair of James Audio OMNI129AT4-P outdoor audiophile loudspeakers with the McGary SA 1. It won’t get as loud as a big-power, audiophile solid state amp, or a professional amp designed for outdoor audio, but for moderately loud music, played in a small back yard, It sounded terrific.

I played the The Cars debut album in hi-res via a HD Tracks download and man, did it sound good! Even with four drivers, it did not sound muddy or boated. I added a bit of Miles Davis — Kind of Blue DSD music to the mix, and became more impressed with how loud and clean the McGary played in the outdoors. And it also is a testament how good things sound when you are not encumbered by the problems of indoor room acoustics.

The verdict

The USA-made McGary SA 1 brought me hours of musical pleasure — with all kinds of hi-res music. After a long run of sold state amps, it was nice to hear how competitive tube amps are, in terms of an ample sonic balance of accuracy, and ease of listening. Although 30 watts does not seem like a lot of power, for most modern listening rooms, with efficient speakers, it is plenty of power.

The SA 1 amp looks cool, is built like a tank and should bring years of trouble-free listening (you will have to eventually replace output tubes, but that is years away).

Listening to a pair of Studio Electroic S4 bookshelf speakers with this system, my audio impression, of the Rogue RP-7 preamp, McGary amp and Benchmark DAC3-HGC, was totally positive. “A nearly perfect collection of components for those who like their digital via tube playback,” my notes said.

Kudos to Mike McGary for bringing us a USA-made tube amplifier of this caliber; it can compete with or better many modest-powered modern tube amps, or many of the amps of yore. I was sorry to see the SA 1 go. It never missed the mark on the concentration of Classical Jazz and Acoustic solo instrument music that I listen to on any of my speakers. An Everything Audio NetworkStellar Sound Award for sure.

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 SoundOnSound, 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 email: everything.audio@verizon.net

Brevis...

Price: $1,299

Likes: impact of a 15, ARC

Dislikes: ain’t no way

Wow Factor: I want to buy two

More info: Paradigm X12

by John Gatski

Subwoofer technology has progressed to the point that smaller subwoofers are now big performers — in terms of clean output level and frequency extension — even from modestly sized enclosures.

Case in point is the fantastic Paradigm Defiance subwoofer, a 12-inch sub that would put many 15-inch subs to shame a few years ago.

Take the X12 Defiance reviewed here. This star-performer of a subwoofer offers nearly flat 20 Hz performance at 95 dB plus level with ultra clean punch, in a box that is not that big, offers Anthem Room Correction (ARC) tuning via PC and smart phone app. — all for $1,299. Dang! For $199 bucks more, it can be run wirelessly.

Features

The Defiance X12 contains a 12-inch (305 mm), long-drive driver with ART Surround (carbon-loaded polypropylene cone), 650W RMS (1,300W dynamic Peak) Class-D amplifier, control app via smartphone, and Anthem Room Correction (ARC) with Windows PC or smart phone app are included as well. Anthem Room Correction automatically equalizes the bass to tailor the sub’s response to the room. It is one of the best room correction mic/test/adjust apps for speaker applications.

X12 sports full array of connection options

The key to the performance is the tuned, bottom port cabinet combined with Paradigm’s patented driver that moves much more air than typical 12-inch woofers. Top it off with a powerful, X12 amplifier that sports auto-on/off and improved soft-clipping circuitry, which enables huge dynamic peaks without audible harshness.

The X12‘s on-axis frequency responseis listed at ±3 dB from 20Hz – 230Hz, which is amazing performance from a box that is under 20-inches deep and wide. The extended, low-frequency measurement is 15 Hz (DIN), though level is reduced at that frequency. Still audible level at 15 Hz is quite impressive in a single-12 inch subwoofer enclosure.

As a subwoofer, the Defiance X12‘s performance defies its $1,299 retail price. The powered sub's nearly ideal performance/value ratio, for both music and movie watching, makes this subwoofer an instant Everything Audio Network Stellar Sound Award winner!

The subwoofer comes in a satin black finish and measures 18"× 19.5 × 18.75" (45.7cm × 49.5 × 47.7cm). The crossover is adjustable from 30 Hz - 120 Hz; the unit and downloadable app contains the phase control: variable 0° - 180.°

The X12 comes with three RCA (Left, Right, and LFE) for left/right line-out and/or sub-out from receiver/processor or other line-level source, two speaker-level (Left and Right) for input from amplifier or other speaker level source. I still run some audiophile system speaker/subwoofer setups with speaker level connection, and I applaud Paradigm for still including that feature on some subwoofers.

X12 looks good — with or without grill

The subwoofer is equipped with one Micro USB port for the ARC™ room correction via Windows computer, as well as firmware updates.The Defiance WT Wireless Kit (sold separately) is $199. It allows you to send the signal from a pre-pro or receiver or smart device without any wires.

The Defiance Series features six models: from 8-inches to 15-inches: V8 (no ARC) V10, V12, X10, X12, X15) The 8-inch and the 10-inch do not have the ARC, but are also fine performers in small rooms. The 12-inch and 15-inch are perfect for larger rooms where low-bass extension and level are paramount.

The set up

I placed the Defiance X12 in my typical sub position, left front of the room near the side wall, about four feet from the main speakers, which are the very accurate Westlake Audio Tower 5, Westlake Audio LC 6.25 center channel and NHT One dipole rear surrounds.

For the electronics, I fired up the Audio Control Maestro M9 pre/pro, AudioControl Savoy multi-channel amp, an Oppo BDP-203 BD player, and a Sony XBR 60-inch LED. All components were plugged in Wireworld with Essential Sound Products Essence II power cords and power strip.

Optimizing the bass via ARC app is a snap

I set up the Defiance X12, using the ARC app and my Dell Latitude Windows computer. I placed the measurement mic at the listener position, programmed the app and let the software measure and set the bass.

The ARC does a great job dialing in the accurate bass response. After the ARC sessions, I noted only a 2 dB variance from 30 Hz to 140 Hz in the room, as independently confirmed by my AudioControl analyzer and calibrated microphone.

The audition

I auditioned the Defiance X12 mostly as a home cinema subwoofer, and I was quite impressed with how clean and loud this subwoofer reproduced the low end. With test tones, I was getting a shade under 95 dB level at 22 Hz and it was flat at 26 Hz in my room with the ARC tuning. Turning off the ARC, I still got flat, clean and loud response down to 25 Hz.

An example of the thunderous, yet clean extension of the Defiance X12, was the U571 submarine movie from the early 2000‘s. The depth-charge explosions segment is relentless and a capable sub relays sub-audible, stomach churning room vibrations.

When the dirty nuke bomb goes off in Tom Clancy’s Jack Ryan yarn, “Sum Of All Fears,” my roof vent buzzed and rattled. I was astonished that this 12-inch subwoofer could produce this physical boundary effect two floors away.

My eight-year old Paradigm Sub15 subwoofer from a few years ago set the reference for my room for 22 Hz and deeper, loud bass from that movie. That was from a 15-inch driver and a larger box. The Defiance X12 equaled the loudness and extension of the old 15. When the dirty nuke bomb goes off in Tom Clancy’s Jack Ryan yarn, “Sum Of All Fears,” my roof vent buzzed and rattled, just like it did with the Sub15 and the Paradigm Prestige 15-inch subwoofer I reviewed a few years ago. I was astonished that this 12-inch subwoofer could produce this physical boundary effect two floors away.

The proprietary XWoofer can move some air

I also used the Defiance as the primary low bass for two audiophile set ups. Using it in conjunction with my Lipinski L505 stand speakers and Westlake Lc8.1 stand speakers, I drove the main speakers with a Pass Labs X350.8 amp, Benchmark HPA-4 preamp line stage and a Mytek Manhattan DAC.

With level matching and crossover set between 60 and 80 Hz, depending on speakers, the Defiance X12 created a perfect blend with the stand speakers, allowing the Hi-Res music to go way down in bass to present a full-frequency audio signal with plenty of slam.

With Classical music organ performances from several Bach SACDs, symphonic kettle drum tympani as well as synthetic bass-heavy Pop and Rock, the overall balance was much more fleshed out using the Defiance.

X Series Stack Attack: Paradigm X10, X12 and X15

The cannon shots on the thirtieth-anniversary Telarc Eric Kunzel and The Cincinnati Pops 1812 overture were downright subsonic and simultaneous thundering with windows vibrating and in your chest pressure while the midrange and treble were soaring in decibels. I really like this 12-inch sub!!

I even used the Defiance X12 in my home recording studio, running it speaker level with a Bryston 14B SST-II amp, which was fed via a Mackie-USA mixer. Perfect balance speaker/sub sound for the mixing of a basic bass, drums and electric guitar combo recording that I was doing a bit of mastering on.
The sub does not have XLR pro connections, but it was ultra clean, quiet and extended and loud in my set up by using the speaker level conduits. Most pro subwoofers don’t have this level of performance at this price. The X12 is tight, fast, and extended. You have to spend a lot more in the pro world to get this level of performance.

The verdict

I had zero problems with the Defiance X12. For 90 percent of home theater owners in typical rooms, one of these is all you would ever need. It kicks out loud 25 Hz bass and under in spades, nets you an optional smart phone control app when operating in a wireless configuration, comes with the excellent ARC set up software and is not that large at less than 20 inches squared.

The Class D amp, the extended motion woofer and tuned box give you a sub whose performance in this size was unheard of 10 years ago. Two of these would be perfect for home cinema or music.

As a subwoofer, the Defiance X12‘s performance defies its modest price. Its nearly ideal performance/value ratio for both music and movie watching, makes this subwoofer an instant Everything Audio Network Stellar Sound Award winner and an automatic nominee for Subwoofer of the Year 2019. Yes, it is that good.

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 SoundOnSound, 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 email: everything.audio@verizon.net

Brevis...

Price: $1,299

Likes: sound, price

Dislikes: no complaints here

Wow Factor: how much a pair?

More info: KLH Kendall

by John Gatski

Sacred brands in audio are bought and sold en masse all the time, but a few years ago there was a business transaction involving the fabled KLH brand. You remember KLH, it was founded by audio deity Henry Kloss (AR, KLH, Advent, Kloss Video Corp. Cambridge Soundworks and Tivoli Audio), who was quite an audio VIP in the 1950s through the 1990s. Long-time audio speaker player David Kelley, who worked for many years at Klipsch, bought the KLH brand and has, subsequently, created a crafty blend of high-value/performance hi-fi speakers that, I believe, Mr. Kloss would be proud of.

The new KLH

The new KLH has a lot to live up to. Over the years, I owned several pairs of original AR’s, KLH’s and Advents, as well as an AR turntable and the famous KLH Model 8 tube FM table radio. The new KLH, based on my review of the flagship Kendall speaker here, is hitting the target of good sound/great pricing formula created by the original KLH.

Today, under David Kelley and Co., the new KLH features designed-in-USA, manufactured in China speakers that offer performance that defies the cost. The flagship KLH Kendall reviewed here is an incredible $1,299 retail per pair, and I have seen them as low as $900 on special deals.

At a street price under $1,000, these towers can do a budget audiophile, or even a picky, high-end audio guy proud. Balanced, smooth and uncolored in its midrange projection, the Kendall has a lot going for it — in terms of price/performance!

I met Kelley and his KLH team at the 2018 CEDIA Expo last Sept. and got a chance to listen to the Kendalls and talk to the gang about their new ventures, previous audio biz lives — as well as sample the whiskey that was flowing freely. (Man does not live by sound alone).

When they fired up the Kendalls with a high-end tube amp and let me sample various bits of Jazz and Classical music, I immediately found the KLH tower nicely balanced — without the cheap speaker crossover bump and soggy mid bass — I often hear in the $1,000-$1,500 range. In fact, after more listening, I thought the Kendalls sounded quite good, though I thought the tube amp was a tad slow for my taste.

After my first Kendall listening session, Kelley queried me, asking me “how much do you think these speakers retail for.” I responded with a rather wide swath of price range, estimating a $3,500 to $5,000 range. When Kelley told me the actual $1,299 retail, my jaw dropped. After I left the demo, KLH promised to send me a pair to review.

KLH woofer muscled down to low 30 Hz i n my room.

A few weeks later, a pair of Kendalls dropped on my door step, and I commenced to testing them for EAN, matching them with high-end solid state amplifiers (Pass Labs, Benchmark, Bryston, an original McIntosh MC275, Mytek Brooklyn Class D) and even a few top-tier home theater receivers from such companies as AudioControl and Onkyo.

It did not matter what I powered the KLH towers with, they sounded good with everything. Sure there was some extended refinement with the upper-end amps, but the Kendalls showcased an accurate, balanced speaker sonic impression that nicely fills small to medium listening rooms with good-sounding music. Just like I heard it at the CEDIA demo.

Features

The three-way, bass reflex KLH Kendall tower speaker features two 6.5-inch Woven Kevlar bass drivers, a 5.25-woven Kevlar mid/bass driver and a “high-performance” 1-inch anodized aluminum tweeter with a linear response faceplate. Each driver sports butyl rubber surrounds and braided, tinsel leads.

For the money (and then some), the KLH speakers feature real wood veneer made from black oak and American walnut. The MDF construction with custom-designed, internal low-resonance, driver chambers and bracing optimize the acoustic inertness of the cabinet. Sound smearing affects are kept to a minimum.

Other construction pluses include powder coated, die-cast aluminum driver baskets, with oversized magnets and brushed-aluminum tweeter faceplate and driver fascia.

The passive crossover network sports multi-elements with high-grade components to ensure smooth and natural transition between drivers. The crossover points are at 800Hz and 2.5kHz, 12 dB per octave.

The speakers also include a black satin MDF base for additional mount stability, and chrome plated steel spikes and rubber feet for additional decoupling. The speakers use magnetic-mount grilles that feature a custom honeycomb design.

Factory rated specs list a 25 Hz-23 kHz +/-3dB frequency response; Sensitivity, 96 dB; Power handling, 250 watts; Impedance, 8Ω; Dimensions, 40” x 7.75” x 14.75” (H x W x D); Weight, 50 pounds each.

The set up

I tested the speakers in several home audiophile configurations and the annual Holiday Party for the DC Hi-Fi Group last December.

In my home setup, the Kendalls were matched with a number of amplifiers: Benchmark AHB2, Pass Labs X350.8, Pass XA30.5, Pass INT-60, Bryston 14B-SSTII, Mytek Brooklyn Class D, AudioControl and Onkyo receivers, and my old McIntosh MC275. Preamps included a Benchmark HPA4/line stage (one of the most transparent pre’s in the biz), and my Rogue Audio RP-7 tube preamp.

Aluminum dome is silky smooth in its tone

On-duty DACs featured Benchmark DAC3-HGC, Mytek Manhattan II and the Mytek Brooklyn. I also threw in a turntable audition with my Clearaudio Emotion/with Benz Wood MC cartridge. All cables were from Wireworld and the AC was tethered via power cords and a strip from Essential Sound Products Essence line.

I placed the Kendalls in my audiophile listening room about 11 feet away from the listening position with speakers toed-in a few degrees and 16 inches from the back wall. Since there is a rear port with available port plug, I did play around with stuffing the port when moving the speakers closer to the wall. I left the grills on initially, but also removed them to compare the covered and uncovered audio difference, if any.

The audition

First up was the Warren Bernhardt - So Real SACD rip, playing from the Apple Laptop, via the Audirvana player app with the audio fed to the Benchmark DAC3-HGC, which routed its pristine conversion to the Benchmark HPA4 preamp and on to the $13,000 Pass Labs X350.8. I mentioned that amp’s price because ordinarily you would not imagine mating such an amp to a pair of $1,300 speakers.

From the first play of the “So Real” title track, the Kendalls revealed how much of an over performer they are. Wide and deep imaging, smooth mid to tweeter crossover, and a taut bass with good extension down to 32 Hz, -2.5 dB, in my room.

The drum kit rim shots and cymbal brushes, plus the Steinway piano tone, on “So Real” had a nice sheen to the top end — without the raggedness I have heard from other metal dome tweeter designs. The Kendall duo sounds great on jazz.

Pretty in walnut — KLH Kendall

On the luscious, organ-drums-jazz guitar recording of The Anthony Wilson Trio - Our Gang, the warm, hollow body jazz guitar, Hammond organ and the laid-back drum persona, was relayed with precision finding the right balance of warm bass-to-treble ratio. The organ’s lower register is the bass, but it did not overwhelm the Kendalls. The top-end presence of this recording came through just fine. For this kind of money, the top end was way more than I expected.

Moving on to the Joe Pass/Ella Fitzgerald collaboration, Easy Living, from a 1986 ;ive recording, remastered to DSD, Mr. Pass’ excellent, succinct note playing on the Gibson ES-175 guitar and Ms. Fitzgerald’s pleasing vocal range on the album’s jazz vocal standards were delivered with a focused, balanced tone that showed little diminishment when compared to speakers that are thousands more. The vocal clarity and lack of excessive sibilance showed me how serious the Kendall is.

On the CBS Living Stereo SACD release of Sibelius– Violin Concerto In D Minor, Op. 47, performed by Jascha Heifetz (Walter Hendl Chicago Symphony), Mr. Heifitz’s Stradivarius tone was delivered with the overtones and resonance I come to expect from good speakers. Not quite as fully dimensional as my $10,000 ML Montis electrostatics, but still quite revealing. If you ain’t comparing directly, you fall under the spell of the Kendall quite easily, especially when a pair can be had for under a grand!

The plump drum tone and ringing rhythm-guitar propel the catchy, late ‘70s/early ‘80s retro tribute tune, “Get Lucky” from Daft Punk in 2013, and it is easily carried by the Kendalls. For such a low-cost speaker, the midrange clarity and top-end succinctness is quite noticeable for a speaker in this price class!

On Pop music, such as the new reissue/remix of The Beatles - White Album (24/96), the Kendall tower showcases the new mix’s more-forward presentation — with an upscale space impression. Imaging is really good with lots of width and bits of extra guitar, strings, backing vocals and percussion filling out the space in between. And, again, with the speakers well out from the wall, I did not notice any excessive bass bloom in the midbass.

The 2013 mega Pop hit “Get Lucky” from Daft Punk (the Random Access Memories album) — with that funky Nile Rogers/Chic guitar riff and Pharell Williams lead vocal — was presented in its percussive, dynamic, energetically driven wall of sound. The plump drum tone and ringing rhythm guitar propel the catchy, late ‘70s/early ‘80s retro tribute tune that is carried easily by the Kendalls. For such a low-cost speaker, the midrange clarity and top-end succinctness is quite noticeable for a speaker in this price class.

Kendall plus other KLH models equal a 7.1 system

Did I need more proof of how good the Kendall is? In a play-through of a 24-bit/384 acoustic guitar sample cut I recorded several years ago for a converter company, the KLH tandem rose to the occasion. In 2013, I had recorded this three minute, flat-picked guitar ditty on a custom Taylor 810 dreadnaught guitar. It was recorded with a pair of Audio-Technica AT-4041b instrument mics in an X-Y stereo placement, using an Apple laptop, the Audacity recording app and an Antelope Audio mastering A/D converter.

The stereo mic placement makes the recording bigger sounding, in terms of imaging, for just one instrument. On accurate speakers, it has full width and depth, with a bountiful midrange, an airy, low-treble crispness and a tight bottom end. The intricate, flat-picked notes have snappy transient tone — with lots of complex string-to-body overtones.

Once again the Kendall’s impressed me with its ability to convey my homebrew 24/384, hi-res acoustic guitar hi-res recording. The balance between slightly crisp and neutral was right there, and the aluminum-dome tweeter produced the high-end attack — without being strident. Just like the Taylor guitar sounds.

Once again the Kendall’s impressed me with its ability to convey this hi-res recording. The balance between slightly crisp and neutral was right there, and the aluminum dome tweeter produced the high-end attack — without being strident. Just like the Taylor sounds.

The KLH Kendall’s budget-buster, audiophile character was evident with all my amplifiers. The old McIntosh MC275 was a little softer in the bass than the various MOSFET/bipolar output solid state amps and the Class D Mytek Brooklyn, but the old KT88 tube amp still sounded great through the mid and treble — with a slight softening of drum cymbal transients and upper register piano notes.

At the DC Hi-Fi Group’s Holiday party in Alexandria, Virginia last December, the audio playback system included the Kendalls and a Pass Labs INT-60; it was quite a match. The Class A-A/B MOSFET amp and Kendalls delivered a very musical character for the various genres of music we played at the party. Plenty of upper-end clarity and bass. On some Pop and Jazz with prominent bass guitar, we noticed a bit of midbass fattening due to the logistical requirement of keeping the speaker very close to the back wall. The port plug fixed most of this mid bass proximity effect.

Survey says!

Numerous members commented that they were impressed by the KLH flagship pair. DC Hi-Fi Group Member, and noted speaker builder/reviewer Tom Perazella, remarked that the KLH Kendall was “quite a good-sounding speaker,” and seemed well made.

With many hours of Kendall listening under my belt, I can positively say this KLH flagship was a pleasure to listen to and to look at. I know some audiophiles criticize Chinese-made audio products, but in reality, the place of manufacture is not as paramount as is good design, quality parts selection and competent assembly.

The KLH Kendall three-way, floor-standing loudspeaker is attractive, performs as claimed and its price cannot be beat for a full-sized tower. From the casual listener on a budget to the serious audiophile who desires a cost-effective, hi-fi speaker for a small-to-medium room, this tower should be on your short list.

There are lots of high-end audiophile gear and speakers being built in Asia, in today’s economy, that are excellent choices. Even high-end ones like Revel. You can add KLH to the list of quality Chinese-built speakers. A good speaker is a good speaker. Who cares where it’s built?

I had not one problem with the tested KLH speaker tandem or any negative. At a street price under $1,000, these towers can do a budget audiophile, or even a picky, high-end audio guy proud. Balanced, smooth and uncolored in its midrange projection, the Kendall has a lot going for it — in terms of price/performance.

It can even be used as the L and R in a serious 5.1 to 9.1 home theater set up — adding other KLH models and, maybe, a subwoofer. (Hmm, do I smell another review? Stay tuned.)

The verdict

The KLH Kendall three-way, floor-standing loudspeaker is attractive, performs as claimed and its price cannot be beat for a full-sized tower. From the casual listener on a budget to the serious audiophile who desires a cost-effective, hi-fi speaker for a small-to-medium room, this tower should be on your short list. It receives our Everything Audio Network Stellar Sound and a nomination to the EAN Speaker of the Year list, which will be revealed in December. Way to go, KLH. Henry would be proud of the Kendall.

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 SoundOnSound, 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 email: everything.audio@verizon.net

Brevis...

Price: $495

Likes: price, accuracy

Dislikes: zilch, nada, zip

Wow Factor: 10 out of 10

More info: Mojave MA-50

by John Gatski

I have been a fan of every Mojave microphone ever produced. The MA-300, MA-101 fet, etc., all designed by David Royer. They are as good, or better than any Japanese, USA or European mic in their respective classes.

The $495 retail/street MA-50 is no exception. Such a bargain, in terms of its sonic performance. Clarity and realism are descriptors used by the Mojave marketing team to describe the audio character of the MA-50, and I whole heartedly concur. If you are buying, get two.

Microphone Designer David Royer, who designs for both Royer Labs, home of the classic ribbon microphones and Mojave, has created a thoroughly modern microphone that rises to that challenge making an affordable, yet thoroughly high-end sounding microphone.

The MA-50 is a serious recording tool that is significantly above the plethora of $200-$300 microphones flooding the market. Whether a home recording fanatic or a seasoned, big studio pro, the Mojave MA-50 is worth a little extra coin to get this caliber of sound.

The $495 MA-50 transformerless design is a cardioid, large-diaphragm microphone designed to for recording and live sound use with numerous musical instrument types. Royer said that the MA-50 transfomerless design was a way to get great performance out of a large diaphragm mic at a much lower cost, well under $1,000. Big name condenser mics often are well north of $2,000, and there are a lot of cheaper mics down to just a few hundred bucks. The MA-50, though, hits the sweet spot.

MA-50 with shock mount and case

“When we decided to produce the MA 50, the microphone was intended to be a relatively low-cost microphone,” David Royer explained. “Due to the intended price point, the choice with the design was to either use a low-cost output transformer or dispense with the output transformer entirely.”

Royer said that cheap transformer designs compromise microphone performance. “I have long been dissatisfied with the performance of inexpensive audio transformers (noise, distortion, etc.),” he said. “So I quickly ruled out that option.”

Royer noted that he ultimately designed the transformerless circuit, based on the transistorized output buffer stage used in the Royer R-122 and SF-24 ribbon microphones. The capsule is straight out of the MA-200 tube and MA-201fet condensers.

“It (the ribbon output buffer stage) has been renowned for more than a decade, and it seemed that the design could be adapted to a simple, no-frills condenser microphone design," Royer explained. "I figured that the measured noise, frequency response and distortion would be well within professional standards (they were), and that the cost would be reasonable.”

Reasonable indeed. Initially manufactured in China and then moved to USA for quality control, the MA-50 became an instant hit in the recording mic world — with quite satisfying results reported by seasoned audio pros and home musician recording buffs. The bundled, stereo-packaged MA-50 deals, at under $1,000 from dealers, made the decision that much easier.

Features

The MA-50 is a large-diaphragm, cardioid patterned, 3-micron capsule. As mentioned, the transformerless circuitry gives it a very low self-noise, less than 18 dB!. Its ability to handle fast transients makes it ideal for most any kind of recording tasks; drums, vocal, acoustic guitar, mandolin, piano, movie/TV foley and ADR, angels singing from heaven, etc. All right, the last one, I made up, but you get the point. This mic is quite versatile with most musical instruments.

Such a bargain, in terms of its sonic performance. Clarity and realism are descriptors used by the Mojave marketing team to describe the audio character of the MA-50, and I whole heartedly concur. If you are buying, get two.

The response is an excellent 20 Hz to 20 kHz, plus or minus 3 dB with just a bit of rise on both ends of the spectrum. The cardioid patterns, high-frequency linearity to 15 kHz is impressive.

Other technical data: externally polarized pressure gradient capacitor capsule, 1-inch diameter, gold-sputtered diaphragm (3-microns), -40 dB re. 1V/pa, 125 dB sensitivity. Comes in a nice carrying case and shock mount: Mic case dimensions are listed at 10” x 9” x 4.5”, 4 lbs; mic dimensions only: 7 5/8” X 2” (194mm x 51mm), 1 lb. (0.45Kg).`194mm.

The set up

I mounted the Mojave MA-50 pair onto a stereo bar via a telescoping mic stand and recorded numerous instruments, including two Martin acoustic guitars, a Manuel Rodriguez solid cedar top classical guitar, a Fender Mark Knopfler custom Strat with original vintage alnico 3 single coil pickups, a Fender American Series Telecaster, a modded electronics Les Paul Studio, Yamaha SA2200 335-style semi-acoustic electric, a custom double pickup Gibson L5CES hollow body, a 25-year old Yamaha U1 upright professional piano, Nord Electro 5 keyboard via speakers, and a Zum Steel Stage One Encore, single 10 pedal steel guitar.

Coupled with the transparency of the Wireworld Equinox cables and the True P2 preamp, I consistently tracked, top-notch quality sample hi-res tracks with the MA-50‘s; 24 bit or DSD, the audible pleasure was all mine!

All guitars were run through either an original 1965 Fender Deluxe Reverb or a ‘74 Princeton Reverb. I utilized the latest Wireworld Pro Equinox XLR mic cable, which are incredibly transparent and robust in their construction. Highly recommended. I powered the MA-50s with a 2002 vintage True Engineering P2, solid state mic preamp, a very transparent and low-noise solid state preamp with a phase scope.

For vocals on spoken voice and singing, I used one microphone. On all the guitars, I recorded mono and stereo. The piano was only stereo. The recording set up was through a TASCAM DA3000 SSD recorder/player, which lays down stereo PCM (24-bit-192 kHz) and DSD at 2.8 MHz and 5.6MHz sampling. I connected a Benchmark ADC1 (unfortunately no longer made) via AES/EBU to the DA3000, to get a bit more smoothness into the ADC link, but I used the TASCAM’s onboard DSD for takes that I wanted to do in 1 bit.

I made edits via Audacity, Reaper or SoundIt 8 using Macbook Pro or a Dell Windows laptop. Playback system included Benchmark HPA4 HP amp/line stage, with its custom analog attenuator, Benchmark ABH1 power amp and Amphion nearfield speakers.

The audition

First up was my trusty, small body, Martin 00-28 custom, a very warm, yet percussive finger picker with true 1930s 1/4-inch bracing. After recording several cuts at 24/192, I did five cuts in stereo. The playback system consisted of the Macbook Pro connected to the Benchmark monitoring system and listening to the Amphion speakers and a pair of AKG K702 anniversary headphones. I also checked the recording playback quality on my home audiophile system with MartinLogan electrostatic speakers, Benchmark DAC and Pass Labs amplifier.

Steel guitar recordings via 2x MA-50 are amazing

The Martin 00-28 custom playback was impressive. The MA-50 mics have a knack for relaying the transient response and warm, midbass of the little Martin with a spacious spread of string tone that is so natural. I really did not hear much rise on the top end. Just a clean and wide soundstage with that accuracy I like in hi-res recordings of stringed instruments. The warmth of Indian rosewood and red spruce wood from the OO shone through, but it never was too bloomy. These Mojave microphones nailed the Martin perfectly.

Jumbo guitar sound

Next up was my larger Martin J40 jumbo, a guitar with much more bass and more defined midrange/low treble projection. Not bright sounding like a Taylor, but less vintage than the 00-28. I find that numerous mics that I have used for recording that guitar accentuated the treble response — too much sheen on the J40 that is not there; some mics also boost the midbass, which means a careful placement and some EQ at times.

However, the MA-50 did a great job keeping this big guitar in sonic balance, whether finger picked or flat picked. Through the MA-50s, the recorded stereo image of this big guitar was incredible in its power as played through the medium gauge strings. The sound is so much better than a plugged-in acoustic with that thin, under-body mic sound. Give me external mics any day on any acoustic guitar. Indeed.

The classic cardioid polar pattern

So far, so good. I moved on to my 2002 custom shop Gibson L5CES. My wifey bought this for our tenth anniversary, and this one is among the best modern versions that I have played. The acoustic tone consists of a deep, warmth-filled voicing that is transmitted by the Gibson Classic 57 alnico II magnet pickups. The two pick up position is to die for when playing through .11-.050 flat-wound strings.

I then switched amps — my Fender Twin Reverb Reissue 1998 edition. My newer Twin is as good as any vintage black face. And is open, loud, but revealingly smooth via the tube circuit and USA-made Eminence speakers. Playing the L5CES with a large celluloid Fender pick, on some jazz runs, I placed one mic each in front of each speaker about 8-inches away to capture the sound. Wes Montgomery, I am not, but my little rhythm runs were so vintage and warm toned that I wanted to play the guitar the rest of the week. Lucky, I captured it all in DSD.

And as I expected, The MA-50 capture of the L5 was incredibly vintage in it tone, but with a lot of dynamic headroom; the sound reflects a percussive warmth without edgy side tones or bloated bass that would need onboard EQ tweaking. The top end sounded as natural as it could be without undue emphasis. The Mojave mic is definitely a friend to the humbucker tone. And of course, the stereo image from two speakers is much broader and contains more depth than using just one mic. I give it an A++ on the L5!

Uncanny accuracy without weighted bloom in the bass — and a clean, articulate midrange and treble without the edge. Yamaha pianos are bright, but the Mojave captured realism and essential bite without pushing it to shrill.

I confirmed the MA-50‘s humbucker guitar friendliness through a tube amp via tracking my Yamaha SA2200 and my Les Paul Studio guitars. Both guitars’ elemental, warm impactful tone shone through the Twin, as well as my ‘74 Princeton Reverb and original ‘65 Deluxe reverb.

On single coil guitars like my Knopfler Fender Strat with ‘54 alnico 3 vintage pickups (think the Buddy Holly Sound) and my 2001 Telecaster, the MA-50s transmitted the ‘65 Deluxe Reverb’s amplified tone with a nice open midrange and top end that revealed, upon listening, the Reverb’s upper band harmonics, but not being too strident. That bell-like tone of the Knopfler Strat was really seductive sounding via the playback. My favorite Strat sound captured in stereo by the MA-50’s.

Almost forgot, the Stage One Encore pedal steel guitar through the Twin. Despite my limited proficiency, the rich midrange/treble harmonics of the steel’s humbucker pick up and the string pedal pitch bends and phrasing sounded like a million bucks. The MA-50 picked up that Buddy Emmons/Lloyd Green-like tone that makes you cry in your beer. And in stereo it is like a chorus: powerful and harmonic. Wish I could play it better, but the MA-50 pair picked up the nuance and, in my opinion, does the steel justice as good as any of the classic vintage condenser mics.

Heck, in the old days, many engineers threw a cheap dynamic on the steel guitar. But I have always remained firm in my belief that a good steel/amp setup has much more to offer, sonically, than through a cheap mic. Why would you put a SM-57 on something as complex as a steel when you can capture more. Via high-res recording, with an excellent condenser like the Mojave MA-50, this steel was done justice.

Switching off to classical guitar, a $3,000 Manuel Rodriguez solid wood model, the qualities I hear via steel string acoustic, thrive with the nylon string as well. Quick response and a true relay of the percussive transients. And in stereo, there is such a huge image expansion via the second mic. I always record classical guitar with two mics, and the MA-50 is mucho worthy of the challenge.

Tinkling the ivories

I recorded several home brew cuts of piano runs using the MA-50 and True P2 mic pre and was quite happy. The speed and precision of the transient capture of high register notes and chords on the Yamaha U1 showed how effective a mic the MA-50 is for keyboard duties. Uncanny accuracy without weighted bloom in the bass — and a clean, articulate midrange and treble without the edge. Yamaha pianos are bright, but the Mojave captured realism and essential bite without pushing it over to the shrill side. The stereo placement with the lid open reveals much more nuance than with one mic. I have found the sweet spot on this piano, and the MA-50 brought it all into the recorder.

Wireworld Equinox Pro transparent mic cable

The MA-50 also impressed me recording the speaker output of my Nord Electro 5 electronic keyboard, using Lipinski L505 loudspeakers and a PSB subwoofer. I recorded the speaker output versus just inserting the line output as a stereo track because I wanted more of the room sound in the Hammond B3 organ and Wurlitzer electric piano modes. The extra bit of room presence via speakers and the Nord’s sampled organ and electric piano “dirtiness”, as picked up by the MA-50s, gave me exactly what I wanted.

Through the MA-50s, the recorded stereo image of this big guitar was incredible in its power as played through the medium gauge strings. The sound is so much better than a plugged-in acoustic with that thin, under-body mic sound. Give me external mics on an acoustic.

On vocals, the MA-50 is said to be a good mic for solo and choral duties. I found it good for vocals, though it does not impart that big character of its older, big brother the MA-300 tube mic, but in its basic signature, the sound is delivered without excessive color, or sibilance, which is a good thing in my book. EQing a little bottom for a bit of low-end authority enables a seamless solo vocal for a typical male singer. I think it is spot on for female vocals

For drums and percussion I hit some snare and cymbals with brushes and regular sticks, and really liked what I heard. Reminded a bit of a Shure SM-81, which is a really accurate instrument mic for percussion. The brushed cymbal tone had an airy, dimensional signature without hardness — like you hear it in person. Mic’d in stereo, the high hat really sounds good. All those brush harmonics really popped via the playback system.

Can’t beat em!

Overall, my experience with the Mojave MA-50s was all positive, its rather neutral, accurate character allowed everything to come through as I wanted. The fast, transient response reminded me of a really good instrument mic, but the larger size gives sound more weight and authority. Coupled with the transparency of the Wireworld Equinox cables and the True P2 preamp, I consistently tracked, top-notch quality sample hi-res tracks with the MA-50‘s; 24 bit or DSD, the audible pleasure was all mine.

The verdict

The Mojave MA-50 is an incredible bargain ($990 per pair retail) for a high-end, transformerless recording microphone. I was shocked to hear how revealing and how quiet it is. Auditioning a pair of MA-50s through my True Engineering P2 mic preamps and Wireworld Equinox premium mic cables, my 24/192 and DSD recordings of steel string acoustic, Classical and Jazz guitars showcased the mics' ever-present ability to pick up the detail. Ditto on piano and vocal. It is not a big sound, it is "the just right sound" with solid, extended bass, a spot-on midrange and airy high end — without being false. Plus, these babies are less than $1,000 pair on the street. Pretty good price for quality USA mics.

Award winning is understatement for MA-50

Although the MA-50 is intended as an entry level, full-sized condenser, the results are anything but entry level. The MA-50 is a serious recording tool that is significantly above the plethora of $200-$300 microphones flooding the market. Whether a home recording fanatic or a seasoned, big studio pro, the Mojave MA-50 is worth a little extra coin to get this caliber of sound. A Big Stellar Sound Award and a nod for mic of the year on EAN.

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 SoundOnSound, 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 email: everything.audio@verizon.net

Brevis...

Price: $8,900, M9; $3,000, Savoy;

Likes: the best for surround

Dislikes: no DSD decoding (M9)

Wow Factor: multichannel nirvana!
More info: Maestro M9, Savoy G3.

by John Gatski

As an audiophile who loves surround movies and Hi-Res music in surround, I am always searching for the perfect surround processor that relays that last bit of air, detail and accuracy that can be transmitted via today’s advanced source components.

As a multichannel gear is often a comprise in design due to its complexity of merging the A and the V, I am often disappointed in the ultimate outcome from feature rich (so many apps), but compromised audio path design receivers and pre/pros that do not reveal the utmost detail and dynamic of separates.

However, AudioControl’s Maestro Maestro M9 pre/pro is such a processor. This, nearly perfect, multichannel processor relays an audiophile level of quality that rivals two channel separates, but gives you up to 12 channels. I am talking about separate preamps and D/As that cost big money.

The Maestro M9 and the Savoy G3 are just two of the latest examples of AC's A/V dedication. You can spend more for a premium AV pre-pro and multichannel amp, but you will not beat the Maestro M9/Savoy combo performance.

As with the M3 that I have owned for eight years, Maestro M9’s digital decoding of Blu-ray soundtracks: DTS Master, Dolby TrueHD, or uncompressed PCM mutitracks is so revealing that I do not use any audiophile separates in my home cinema room; every source is run through the Maestro M9. It is that good.

Features

The $8,900 Maestro Maestro M9 is designed and assembled by AudioControl at their facility just outside of Seattle, WA. The 7.1.4 preamp is ready for Dolby Atmos®, DTS:XTM and features Dirac Live® room correction technology.

The Maestro Maestro M9 supports today’s latest high resolution formats, including 4K Ultra HD (HDMI 2.0a/ HDCP 2.2) with Dolby Vision and HDR playback support. A/V quality gets a boost from discrete PCM796 Burr Brown DACs and the very best in video processing and upscaling processing. Supports High Dynamic Range (HDR) formats, with BT.2020 support

The Maestro M9 contains the performance features and apps that complement the audio and video; no unnecessary Internet streaming apps or superfluous bloatware that ultimately undermine the performance of A/V products.

For audio decoding, the Maestro M9 supports Dolby Atmos, Dolby Surround, DTS:X, DTS-HD Master Audio, DTS-ES 6.1 Discrete, DTS-ES 6.1 Matrix, DTS 5.1, DTS Neural:X, DTS Virtual:X, and IMAX Enhanced.

Connection panel is straightforward and undaunting

For accurate room compensation, the Maestro M9 enables Dirac Live® Room Correction, a loudspeaker setup function from Dirac Research. Via a PC/MAC based application, Dirac Live® determines the essential speaker settings for all the speakers in your system. It also calculates room equalization (Room EQ) filter values to remove some of the worst effects of resonant frequencies in the listening room.

The sonic result is said to be improved staging, better clarity and intelligibility in music and vocals and deeper, tighter bass without resonance. (In my testing, it performed well in that it did not overly EQ the mid bass as do other auto room setup apps. My room is very neutral in the bass and needs no extra mid bass EQ to achieve flat bass. The DIRAC excels in this regard.

You might think that such a pricey, capable pre/pro would be complicated in its connection and setup. But it really is straight forward — with numerous balanced, unbalanced analog outputs, HDMI 2.0b, plus digital inputs. The Maestro M9 also contains USB input for connection to iPad, iPhone, iPod and other portable music players and mass storage devices. It does not contain a software player.

Supported audio formats

The pre/pro supports MP3, WMA (Windows Media Audio), WAV, FLAC (Free Lossless Audio CODEC) and MPEG-4 AAC (i-Tunes) playback. My only criticism of the Maestro M9 is the lack of DSD decoding. You gotta select the DSD to PCM option on your SACD/BD player to get the M9 play DSD through its excellent converters.

I can honestly say that from these speakers, which are over $40,000. I have never heard better audio from movies while auditioning the Maestro M9 and Savoy. The steering cues, sense of space center channel focus, smoothness, dynamics, low-end projection were immensely satisfying.

For the HD Surround modes, the Maestro M9 includes Dolby Atmos, Dolby True HD, Dolby Digital Plus, DTS:X, DTS-HD Master Audio. The Maestro M9, of course, supports Dolby Digital 5.1, Dolby Digital Stereo Downmix, Dolby Digital 5.1+ Dolby Surround, DTS 5.1, DTS 5.1 Stereo Downmix, DTS-ES 6.1 Matrix, and DTS-ES 6.1 Discrete, DTS96/24.

The MP is custom-install control ready with IP, RS232, 12-volt trigger and IR control options for Internet radio. A nice, medium size programmable remote control is provided for most important Maestro M9 functions.

Well controlled

The Maestro M9 features fully integrated remote control via your video screen or TV, or you can control the basics via front panel controls. The buttons and knobs include Menu, Input, Info Screen, Mute, mode, Direct, Display and Zone. There are two front panel inputs: an 1/8th inch for headphone and an 1/8th-inch Aux. The right side volume control cranks up the level and the knob is quite robust feeling. The unit power ons when you hit Menu, as long as the standby switch is switched to on

As mentioned, there are lots of connections to allow the Maestro M9 to accommodate any A/V scenario: four pairs of RCA stereo inputs for analog, seven HDMI inputs, three HDMI 2.0b outputs, four coaxial digital inputs/two optical digital inputs, eight balanced and unbalanced preamp outputs (L, C, R, SL, SR, Rear SL, Rear SR, and Subwoofer 1), Dolby Atmos preamp out (Height1, Height 2 and Subwoofer 2). There are also zone connection options via HDMI and analog. Other connections include Ethernet, RS32 and USB 3.0

The Savoy G3 7-Channel Amp:

Big Power, Clean and Efficient

The AudioControl Savoy G3 7-channel amp, priced at $3,000, is a MOSFET output, multiboard amp module amp with a massive toroidal power supply, The energy-efficient, Class H amplifier puts out 200 wpc across seven channels into 8 ohms — with all channels driven, and even more into 4 ohms.

The Savoy G3 offers balanced and unbalanced line input with five-way binding posts output. The Class H output circuit across the seven channels, enables on-demand current and power, but with a low-energy idle efficiency found on switching power supply amps. You get the massive power when you need it, but not the wasted heat burning power of Class A/AB

I have used the original AudioControl Pantages since the mid 2000s, and it never has let me down,. The Savoy G3 adds channels, offering 200 wpc with an audiophile transparency, virtually no noise and the dynamic transmission of big time power — for even large, fancy-smancy home cinema setups.

The seven channel Savoy G3 here allows for 7-channel configuration, or more if used in conjunction with another amplifier. It is the perfect base for Atmos, when adding a second multichannel amp, or separate monoblocks for those extra height channels.

AudioControlSavoy G3 Specs

Inputs: 7 RCA Unbalanced, 7 XLR Balanced

Input Sensitivity: 1.42 VRMS for full output

Input Impedance: 22kΩ

Outputs:

Amplifier Channels: 7

Power Output (8Ω): 203W per channel

Minimum Speaker Load: 4Ω

Performance:

Damping Factor: >450

Total Harmonic Distortion: 0.08% (203 watts @ 8 ohms 20-20K),

all channels driven;

Signal to Noise: >110dB, A-WTD ref Full Output;

Frequency Response: 10Hz-20kHz ±3dB

Dimensions: Dimensions: 17”W x 16.5”D x 7”H (4U)

Weight: 55 lbs (24.9kg)

The set up

Having reviewed numerous AudioControl home AV products and an owner of the M3 pre/pro from 2007, the AVR-6 (my favorite receiver of all time) receiver and the original five channel Pantages amp, the install of the M3 and new Savoy was a piece of cake.

I popped out a Yamaha receiver that had been used in a previous review, then installed the Maestro M9 in the mid shelf of the main rack; the new Savoy was placed on the bottom shelf of the AV rack. The Maestro M9 setup menus include connection/source parameters, speaker options, distance (delay), level settings, video settings, or pass-through video.

The discontinued Oppo 205: an ideal mate for the Maestro.

For my review setup, nothing but the best to match the pedigree of the AudioControl amp/preamp tandem: Westlake Tower 5’s for L and R, Westlake LC2.65 for center, and a pair of Westlake Lc8.1 two ways for the rear channels, mounted at 6 ft. 2 inches high on wall brackets and angled toward the listening position.

I have used these Westlake professional speakers for 20 years, and find the them incredibly well made and accurate. The LC2.65 is one of the most accurate dialog speakers I have ever heard!

For subwoofer duties, I employed the Paradigm Pro 15, with flat response down to 17 Hz and plenty of level in my midsized room. MIT speaker cables and Alpha Core solid-conductor silver RCA interconnects completed the speaker-to-amp amp connection to the Maestro M9.

AC cables for the review were from Essential Sound Products (Essence II) as was the Essence II power strip. For consistent high-power amps performance and ultra-quiet AC cord shielding, the Essential Sound Products power cables are a go-to for my cinema auditions of home cinema. The Essence II ain’t cheap, but they are the most quiet AC cords around.

Configuring the Maestro M9

Since I have reviewed several AudioControl and own an AVR-6, the M3 and now the Maestro M9, I am quite familiar with the setup menus. But if even if you have only a basic knowledge of AV setup, this unit is easy to configure.

The base, on-screen menus: are Input Configuration, General Setup, Speaker Types (establishes crossover), Speaker Distance (delay), Speaker Level, Video Inputs, HDMI Settings, Audio Mode, Zone Settings and Network.

In the opening scene of Live Free and Die Hard, the soundtrack slams you with maximum dynamics in bass and percussive sound effects from the shoot outt; it gets the adrenaline pumping, and one marvesl at the complex detail of the subtle and not so subtle audio cues: Gun shells ejecting, breaking glass, footsteps, etc. You hear so much sonic info via the AudioControl duo.

For my use, the speaker settings, input configuration and HDMI were the main setup ingredients. You can also use DIRAC via an external PC to measure and auto EQ, if necessary, to match the speakers to the room. I performed a DIRAC auto setup/EQ via a Dell Windows laptop, and a manual setup with an old school AudioControl 3050 real time analyzer. The DIRAC matched the levels as close as the manual setup and EQ’d very sparingly since my tile-over-concrete floors, foam tile ceilings and pinewood side walls allow for a fairly neutral sounding room. The DIRAC did not add that extra 80-120 Hz of midbass that most other auto EQ setup programs do in my room. Thank goodness for that

I configured the inputs and named them BD1, BD2 and BD3 for use of my various Blu-ray players I assigned an HDMI input to each player, initially with the Pass-Through setting and then later through the Maestro M9’s scaler. The players included a BDP-09FD, Oppo BD-205 and Marantz UD-207. All HDMI cables were from Essence Electrostatic dealer in Florida, which sells an amazing fiber optic cable that is very light and easy to route. These cables offer pristine video, 1080 or 4k. The 2011 Sony Bravia L929 1080P LED (still used for the evaluation is still as good (often better) as any LED made today, thanks to full-array active zone backlighting.

EAN likes these FIBBR fibre optic HDMI cables

In the speaker setup modes, I ran the three front Westlake speakers full size with full bass. The two rear Westlakes were set to small which enabled the 80-Hz crossover. The Paradigm subwoofer/LFE was set to 80 Hz low pass crossover as well. I adjusted the delay through the Distance menu, and set the level via the RTA. Levels were matched to within .25 dB. I repeated the audio setup with DIRAC, and it was close to my manual setup, so I left it.

I also made some general adjustments in the other menus, (such as set up of the network for firmware upgrades etc.). I found any necessary setup adjustment to be easy on the Maestro M9. All in all, it took me 20 minutes to do the basic setup, in the early days of the M3, there were a few software bugs, but the current OS version was perfect. Not one glitch during the long evaluation. Good job, AudioControl.

The Savoy G3 amplifier needs no special setup. I connected the MIT speaker cables and the Alpha Core Goertz solid silver line level cables, and turned it on. BTW, it had nil idle hiss. That is the way I like it my amps, nice and quiet.

I burned in the Maestro M9/Savoy combo for a couple of days with some DTS surround demo discs. I did not do an Atmos Setup; the room is simply too small for effective Atmos, and extra speakers are unnecessary. My surrounds are well placed to transmit height ambience cues, and my many demo videophile guests do not have any complaints that my system is lacking. Atmos works better in much bigger rooms, which I am now setting up for future reviews at another location.

The audition

Based on my experience with the AudioControl M3 and the original Pantages multichannel amp, as well as the AVR-4 and 6 receivers, I had high expectations for the Maestro M9/Savoy combo. Guess what? They exceeded my satisfaction quotient by a lot. I played numerous BDs and found the sound flavors to be audiophile accurate — with an impressive sense of dimension, space and air emitted by the five speakers.

On the Adele - Live At The Royal Albert Hall, the stunning mix is carried out in grand fashion via the Maestro M9 preamp/Savoy amp duo. Rich vocals, focused percussion, guitar and keyboards and a huge sense of space conveyed from the prestigious performance hall. I doubt the being at the concert sounded any better than what the BD and the Maestro M9 and Savoy system could do.

On the Adele - Live At The Royal Albert Hall, the stunning mix is carried out in grand fashion via the Maestro M9 preamp/Savoy amp duo. Rich vocals, focused percussion, guitar and keyboards and a huge sense of space conveyed from the prestigious performance hall.

Ditto, on the Celine Dion — A New Day Live From Las Vegas. The 5.1 mix of the Titanic ballad “My Heart Will Go On” was stunning. Ms. Dion’s power range and emotive conveyance could not be better presented through an audio system than the way AudioControl Maestro M9 and Savoy transmitted it. The PCM soundtrack via DTS Master HD was super smooth, too with just enough of the raw, liveness to make it real.

Amping it up

Speaking of the Savoy, in comparing it to the older Pantages, I believe it is a touch smoother than the original Pantages. Maybe mine is getting long in the tooth. But the new Savoy seems a smidgen more dynamic and easier to listen to on treble-tinged soundtracks. The Savoy is capable of delivering audiophile-class accuracy, dynamics and low-noise power with multiple speakers. With this power, you would have to have a really, really, really big room to run this amp out of gas

I played one of my favorite multichannel jazz SACDs, So Real— Warren Bernhardt (DMP) and was quite tickled that the nuance of high-register piano notes, drum cymbals and snare rim rolls gets the audiophile treatment from the Savoy amp. Bass is really fast.

Just in case you were wondering how I played a DSD through the non-DSD decoding Maestro M9, the recording had to be converted from DSD to PCM via the Oppo BD player so that the Maestro M9 could decode the multichannel. It was not native DSD, but it was Hi-Res PCM.

Back to the Blu-rays, I played several reference BDs including Avatar, The Fifth Element (uncompressed PCM version), U571, Behind Enemy Lines, Star Wars Rogue One, and Live Free and Die Hard. The list also included X-Men - First Class movies, Jack The Giant Slayer and many more — all with excellent soundtracks.

The M9's speaker type setup menu

I can honestly say that from these speakers, which are over $40,000. I have never heard better audio from movies while auditioning the Maestro M9 and Savoy. The steering cues, sense of space center channel focus, smoothness, dynamics, low-end projection were impressively satisfying through the AudioControl Maestro M9 and Savoy amplifier. Yes, the tandem is almost $12,000, but you are not going to find much improvement over the AudioControl tandem by spending more.

For example, the bomb explosion and subsequent gun battle that takes place in an apartment during the opening scene of Live Free and Die Hard slams you with maximum dynamics in bass, and percussive sound effects from the firefight; it gets the adrenaline pumping, but you marvel at the complex detail of the subtle and not so subtle sound effects. Gun shells ejecting, breaking glass, etc. You can hear so much sonic info via the AudioControl setup. And there is such width and depth in the mix.

Ditto with Avatar, the scene, when the big tree is knocked down by the paramilitary attack, showcases a complex cascade of tree destruction sounds (roots and branches breaking) as it slowly tumbles to the ground, which kicks in a huge bass wallop as the tree hits the ground. Cheap receivers ain’t even close in revealing what this combo can do with good speakers.

Like any top-notch audio system, the better the components, the better it sounds. In comparison to a several year old Onkyo receiver that was almost $4000 in its day and considered the best, there was no comparison. The receiver’s amp section was very good, but the internal decoding was much courser than the AudioControl Maestro M9‘s neutral audio hue. And the sweeping width and depth of steered surround cues relayed by the AC combo put the Onkyo in its place. In this case, the extra cash for USA-based product nets you the better sound. One can easily hear it

The Maestro M9 is now my pre-pro reference, and the Savoy is the workhorse, multi-channel amp to judge all others by. Both products get our 2019 Everything Audio Network Product of The Year Awards and the Stellar Sound designation.

The AudioControlM3/Pantages duo from the mid 2000s was close to the Maestro M9 and Savoy, in terms of detail, but when I mated the Savoy amp with the M3 or Maestro M9, I could hear a smoother tonality — without being soft. The fresher amp is the difference, me thinks.

I know I heap the praise on the M9‘s audio, but the video is top notch as well. I did run it through the scaler to see how it compared to the pass-through BD player outputs. The Maestro M9 scaler routed video was just as detailed as the Oppo. I did not have a 4K set on hand, but I trust that the upscaler and native 4K processing will be just as good. The video-adjust menus are straight forward as well.

As mentioned, I had only one negative regarding the Maestro M9: the lack of DSD surround decoding via its internal DACs. There is still lots of SACDs with multichannel sound out there that can be played through HDMI. I have 400 SACDs, but can’t play them natively through the Maestro M9’s converters; I have to enable DSD-to-PCM conversion in the BD player to get the audio to the HDMI.

On the M3, you could play the multichannel out via the BD player’s multichannel output analog jacks into the pre’s analog multiple channel input. The Maestro M9 does not have that multichannel analog input feature. Thus, you have to HDMI it. Stereo DSD from a SACD player’s analog output is no problem.

The verdict

I have been working with AudioControl on reviews since 1989, and I know their dedication to making the better-sounding audio product. The Maestro M9 and the Savoy G3 are just two of the latest examples of that dedication. You can spend more for a premium AV pre-pro and multichannel amp, but you will not beat the AudioControl Maestro M9/Savoy combo’s performance.

I am sure newer AudioControl versions are in the works for the future, but right now a serious home cinema fan cannot buy a better-performing preamplifier or amplifier for multichannel use. Period. All the features, connections and the easy to use software are just extra gravy. For me and my fellow surround Hi-Res movie and music fanatics, it is the sound that counts when determining which preamp/processor to buy.

The Maestro M9 is now my pre-pro reference, and the Savoy is the workhorse, multi-channel amp to judge all others by. Both products get our 2019 Everything Audio NetworkProduct of The Year Awards and the Stellar Sound designation.

***

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 SoundOnSound, 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 email: everything.audio@verizon.net

David Berning Designed LTA Z10 Int. Amp

by Paul Elliott

(Special To EAN)
Part 1 In A Series

When John Gatski, publisher of Everything Audiio Network (and founder of The DC Hi-Fi Group) asked me to cover the CAF for EAN, I had no idea that saying ”certainly” would entail. Man this show has gotten big.

For 2019, the Rockville, MD Hilton Hotel was home to more than 80 audio rooms. I have been involved with CAF, in way or another, every year since the meager beginnings in 2010 when the show was a dozen rooms in an old mansion in Rockville.

CAF Is The Top East Coast Audio Show!

Every year since then the show has grown and developed. There has been four changes in venues and with the present location at the Rockville Hilton for the past four years the show has become a very professional premier audio show for the East Coast. In talking with Gary Gill, show owner/director, he told me plans for next year are in the works and the probable addition of another floor is highly likely.

CAF also featured a lecture series, live music in the restaurant/bar both Friday and Saturday nights, and a concert Saturday night. More on this in later reports. There were so many rooms that that spending quality time in each was not possible. This report will be broken up in to multiple submissions over the next few days.

The $100k+ VPI Vanquish

The VPI Mystique

I had decided to use the top down approach, but that was changed at the last minute when I got wind of a VPI event on the third floor in the Adams/Jefferson room extravaganza. So that is where I start.

VPI VP Matt Weisfeld let us know that they were closing out VPI's year long 40th anniversary celebration with a new signature turntable, the Vanquish. Its striking presence dominated the room — even along side the KEF Muon Mark ll in the Adams room or with the Genesis towers (and a pair of SuperSubs) in the Jefferson Room.

The Vanquish is a direct drive magnetically coupled behemoth that can have up to three 14inch tone arms. It comes with its own stand that has space for the power supply/speed controller, supplied phono stage, and a third shelf for other electronics. It is a complete system, and pricing is not official yet, but likely in the $100k to $150k range. If Mat and Harry can keep this price range, this will the the bargain in the uber-priced TT market.

So in the Adams room we had the new VPI Vanquish TT, the new KEF Muon MK ll with the new Uni-Q ‘point source’ driver array, and fitted with IsoAcoustic feet, powered by the new Krell power amps. The sound was over the top as you might expect. I have never heard any system powered by Krell sound this musical. This is a major design change from previous amps.

In the Jefferson Room, there was another VPI Vanquish TT with Merrill Element 118 amp, Christine preamp which had a very tight control over a pair of Genesis Quartet towers with bass support from a pair of SuperSubs.

Salk Speakers/McGary Tube Amp = Audio Bliss

McGary Audio And Salk Speakers

Next I made it to the 5th floor to explore. First off was a favorite of mine the Salk/McGary Audio Room. Jim Salk brought his beautiful speakers to almost every CAF. He was at the first CAF in 2010. I met Jim and heard his speakers for the first time. I was taken aback, first, by the exquisite craftsmanship of his woodworking. I am a bit of a woodworker myself and I know how difficult it is to finish a product to the level that Jim does. Then there is the sound. Salk has always presented a wide, deep and musical image.

McGary Audio's higher power SA2 amplifier

For the past two years Jim has been exhibiting with Mike McGary's amps. Mike has been hand building these amps here, just outside of DC in Virginia. These are classic push-pull amps with some innovative takes on biasing and powering the output tubes. Whatever Mike does, the result is most musical — with detail and speed to keep young ears happy.

Border Patrol P20EXD/DAC + Daedalus Muse

One of my favorite rooms was the Daedalus/BorderPatrol Room. Lou Hinkley's speakers always impressed me. Lou is a master craftsman, and he is a musician. He knows what live music sounds like and builds his speakers to make recordings sound like live. In Room 516, we had Lou's smallest speaker the Muse paired with a BorderPatrol P20 EXD. 20W/ch, dual-mono push-pull 300B amp with inter-stage transformer coupling and twin external power supplies featuring tube rectification and choke input filtering. Source was an Innuos Music Server, Border Patrol DAC directly in to the power amp. I felt this was one of the best sound at the show, very special.

Bordern Patrol's DAC1 Brings Digital To Life

Another good sounding room was Room 526. Spatial M3 Sapphire loudspeakers matched well with Linear Tube Audio Z10 Integrated amp with source from an Innous Music Sever and a Lampizator Amber 3 DAC. Dipoles have a seductive quality when set up right, and this was a prime example of how do do it right.

I have watched Bill Hutchins bring out new products starting with a superbly reviewed Vero One Phono Stage for a number of years. He now has a complete system, Phono, Line One preamp and now the Veros Power amp. All were providing the amplification duties to the Sonner Legato Unums in Room 534. Every time I have heard Sonner speakers I am surprised how well they fill a room with an tremendous stereo image. There are never walls in the sound stage. It just goes on forever.

Killer combo with Lampizator DAC, LTA Z10 And Sapphire M3's

Much much more to come in CAF 2019 Part II including more Linear Tube Audio, Parasound, and DC area, local dealers showcasing their premium gear.

Paul Elliott is a long time audiophile, based in baltimore. he is a freelance writer and member of the DC Hi-Fi Group. EAN is an audio review web site/blog. Founder 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 SoundOnSound, 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 email: everything.audio@verizon.net

MC Audiotech 40-10's at 2019 CAF

by Paul Elliott
(Special To EAN)
Part 2 In A Series

At CAF, the Jolida/Black Ice rooms are always fun. This year, the new Black Ice Fusion F100 mono blocks powered the Vienna Acoustics Beethoven Concert Grand loudspeakers, an the sound was impressive. The Jim Fosgate design, fully balanced, 140 watts per channel. I heard lots of drive with these amps. The Black Ice F360 preamp, also in demo, is new for 2019. It is designed with a range of Jim Fosgate-designed controls, giving the user complete command over the sound.

Black Ice Fusion F100 Monoblock

What's great about these CAF exhibitions is you get to see and hear equipment you would never experience anywhere. One such product is the MC Audiotech Forty-10 loudspeaker, built near Philly. This is a full-range, two-way system with an unusual cloth-covered, curved array consisting of 100 in-house designed drivers. Frequency response is 100 Hz to 20 kHz, sitting on a bass unit which they call a folded cube. I believe it is two 18 woofers firing into a chamber that is ported out the back.

Each woofer’s back wave is ported out its respected grill on the front. This design provides a very efficient way to plumb the depths to 20 Hz. They are claiming 93-96 db at 1 meter. They were using a PASS XA 25 for the arrays and a Parasound A23+ for the low frequency units. A PS Audio DAC, Wolf Audio Systems music server for the digital source and VPI HW-40 TT with Luminous Arion phono stage managed by a PASS XP22 preamp. The sound was very full of life. I liked it.

Verdant Audio Blackthorn 1

Verdant Audio, in Room 525, had a great looking display of their monitor speaker line. The top-of-the line carbon-fiber cabinet, Blackthorn1. Powered by Art Audio Quartet Mono-Blocks and Conductor Preamp. The stereo image was quite involving. Analog duties were commanded by the Art Audio TT, with Ortofon tonearm and Cadensa Blue cartridge. Digital bits and bytes were from a Roon Nucleus Server and PS Audio DirectStream DAC. I would loved to have heard the bamboo cabinets but had to move on.

Art Audio Quartet Tube Amp

I have met David Janzen many times at previous audio shows and once at a special presentation of his speaker to the DC Hi-Fi Group of his speaker. I have recently gotten involved with electrostatics in rebuilding a few pair of Quad ESL (57's). I like them so much I kept a set for myself. There is something about the speed and transparency that just draws me into the music. It is just more interesting. David was showing his latest version of the Valencia, the P8 electrostatic. This is an active speaker with dual 500W Hypex NCore amps bi-amping the woofers and electrostatic panels. There are both digital and analog inputs.

Jansen P8 Valencia electrostatic tandem

Linear Tube Audio supplied the micoZOTL preamplifier. David said it took much effort to get a balanced sound in the difficult hotel room. He settled on a placement along the long wall, which put the listener in almost a near-field placement which was fine for me. (Other vendors chose to exhibit this way, as well, and those rooms all sounded very good) The sound sucked you into the music. It was rich, full, life like, and rewarding.

Sota Sapphire Series TT

Room 549 was the ModWright/Sota exhibit/demo. I have had a Sota TT since 1985, a Star Sapphire, which was rebuilt and upgraded to a Nova four years ago. Sota was a major player in the late 80's early 90's. They went through some changes and got lost a bit, but they now are making a surge forward with aggressive marketing and development. Sorta makes both suspended (higher priced ) models and non-suspended (entry level) models. I am pretty sure you will be seeing very positive reviews in the near future. The tables have an understated look, not calling attention to itself — except for the musicality of the sound they produce.

The Studio Electric F2 floor standers were playing when I got into the room. These small floor standers produce a great, easy listening presence. ModWright electronics were doing the heavy lifting with aplomb.

Paul Elliott is a long-time audiophile, based in Baltimore. He is a freelance writer and member of the DC Hi-Fi Group. EAN is an audio review web site/blog. Founder 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 SoundOnSound, 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 email: everything.audio@verizon.net

The $100,000+ VPI Vanquish TT At CAF

by Paul Elliott
(Special To EAN)
Part 3 In A Series

The Capital Audiofest has become a big show, and I am not able to come close to covering all the rooms. I am reporting on my favorite rooms that provided a musical and realistic audio presentation. Continuing Day 2 of CAF, I hit the big rooms on the third floor before finishing the afternoon with the smaller listing rooms. I covered the VPI rooms in Part 1 because they had a press event announcing VPI’s new TT the “Vanquish.”

It was announced that what we were seeing was a final prototype and production would begin in the new year. I went to VPI website and still no mention of the Vanquish. Matt told the press that pricing will be in the $100k to $150K range. I gave the system in the Adams room high marks with the KEF Muons and Krell amps. I went back by just to listen again as a reality check, and, yes, still sounded superb.

Classic Audio T 1.5 Reference, Hartsfield Folded Horn Woofer

Down the hall a bit to the Roosevelt Room I found Classic Audio Loudspeakers. Founder John Wolff has been at every CAF since the second year. As the company name states, John puts forth a very classic style system, and every year John shows a system that is consistently at the highest level of musicality and realism.

John was alternating between the T 1.5 Reference and his big Hartsfield corner front folded horn woofer. Both the speakers feature field-coil magnets on all drivers. These are actually electromagnets powered by an external power supply. John feels that the field coils provide a speaker with much less distortion. These speakers do have a very clean and open sound. Amplification by AtmaSphere Novcron 60 w/ch monoblocks, and MP-3 Preamp. All cabling by Purist Audio Design. This is a fun room John is not shy on how he what music he plays.

Devore Fidelity Loudspeakers in Command AV Room

The big Plaza Ballroom where CAF use to have the Headphone Market place has now been divided up into large listening rooms. In the past two years these have proven to be difficult rooms for a music system. The big Caver Amazing's could not come close. These rooms are huge with 20 foot ceilings.

Somehow Jeff Fox of Command Performance AV and John Devore of Devore Fidelity were able to set up one of the best sounding rooms at the show. Amplification was from the Luxman MQ-300, 300B SET 8w/ch. And with only 8W per channel the Devore Orangutan Reference had no trouble driving a 24,000 cubic foot room. Just unbelievable.

Daedalus Apollo 11's Plus BOW subs

Lou Hinkley of Daedalus Audio set up shop in the Randolph Room as he has for the last three years. Lou's speaker are handcrafted in USA, furniture grade, all hardwood, and built for a lifetime. I reported on his room on the fifth floor in Part 1. In the Randolph room Lou brought out the big guns. The Apollo 11's with the BOW subs.

The Daedalus gear rack

Amplification, this time, was with the excellent Linear Tube Audio (LTA) electronics consisting of a LTA microZOTL preamp, a pair of Ultralinear Power Amps for the Apollo's, and a pair of LTA ZOTL40's for the subs. Front end was the VPI Prime Signature — with Soundsmith Hyperion ll ES cartridge. Using the brand new Lampizator Vinyl Phono 1 phono stage. Digital duties handled by Lampizator Golden Gate 2 DAC and Super Komputor music server. WyWire premium wire sets puts it all together. This system sounded far better than the $100k plus it would take to own it.

LTA Ultra Linear: plenty of horsepower, finesse!

Linear Tube Audio electronics were in many rooms powering a wide range of loudspeakers. Nicholas Tolson from LTA also set up shop in the hallway with an extensive array of headphones and headphone amps. LTA has three headphone amps. The top of the line MicroZotl MZ3 combines a headphone amp, a preamp and an integrated amp (for 97 dB or grater sensitivity) on a small package. Highest-quality components in an anti-resonate case, made in America for a realistic price. Actually that really describes all of LTA components.

Listening to LTA MicroZotal 3 HP amp

With the MZ3, Nick was showing the MZ2 which is the basic headphone amp with preamp, basic case for around $1200. Also on the table is the new Z10e which delivers one of the best electrostatic headphone experiences available. In addition, the Z10e is a full function regular dynamic and planar headphone amplifier and a 12-watt per channel integrated speaker amplifier. All LTA amps use David Berning designs with no output transformers.

The Martin Logan/Benchmark has been the fun room for the last couple of years setting up a 5.1 multi-channel system. This year with three ML Classic ESL 9's and a pair of Dynamo 1600x subs up front and a pair of EM-ESL X electrostatic hybrids for the rear-channel.

Who better to do multichannel: MartinLogan and Benchmark

Instead of using a high-end preamp/processor to decode the myriad PCM and and DSS multichannel music, much of it provided by John Gatski of Everything Audio Network (and DC Hi-Fi Group), the Martin-Logan/Benchmark room used a modified players with 5.1 PCM output that fed three separate Benchmark DAC3-B D/As. Each DAC channel signals were connected to one channel each of three Benchmark LA4 line output channels, which in turn fed three Benchmark AHB2 power amps. (Benchmark also showed its HPA4 headphone amp, which also features the LA4 line stage and two inputs).
MartinLogan's Dennis Chern, John Gatski and Benchmark's Rory Rall shared the music playing duties, which included a wide variety of multi-channel tracks that really showcased the essence of multichannel. A number of original quad 1970s Classical albums and numerous Jazz and Pop lossless, Hi-Res music titles were demonstrated.

Acapella Campanile 2

These audio show are always full of surprises. You cannot help entering some rooms with pre-conceived notions based on what one has heard at other audio shows. I was going to bypass the Audio Federation room in the Plaza l with the Acapella horns. I have not enjoyed their presentations in the past, but I poked in and was immediately sucked in by the look and the sound. As I approached closer the music became more intimate.
The front row was the place for me. The horns work in this monstrous room because they do not depend on the room. The Acapella Campanile 2's are made in Germany with a 40-year manufacturing history.They are quite stunning at almost eight feet tall and 450 pounds each. The Audio Note UK DAC Five Sig doing the bits and bytes from a Acapella Audio One Music server driving the speakers with the Acapella LaMusika Integrated Amplifier. A stratospheric system in sound and cost!

That is all for now. More to come soon. (Thanks to Paul Elliott for all his fine photo work.)

Paul Elliott is a long-time audiophile, based in Baltimore. He is a freelance writer and member of the DC Hi-Fi Group. EAN is an audio review web site/blog. EAN Founder 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 SoundOnSound, 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 email: everything.audio@verizon.net

Brevis...

Price: $2,749

Likes: Excellent conversion

Dislikes: No bit depth status
Wow Factor: "One serious DAC"

More info: iFi Pro iDSD

by John Gatski

Known for its economy Hi-Fi products, British manufacturer iFi makes a dandy, high-end standalone DAC, the Pro iDSD, priced at $2,749.It offers a superb DSD upsample engine, handles native PCM to 384, upsample of PCM to 768 kHz sample rate and native DSD with incredibly accurate conversion. Throw in the switchable, dual-tube stage and streaming, and you could not ask anymore from a converter’s audio path. This is version 4.4.

Features

The cool, modern-looking Pro iDSD DAC sports a high-performance, D/A design via Quad Dual Core Burr-Brown DAC 1793 chipset and Crysopeia FPGA DSD Digital Engine that enables DSD upsample up to 49.152 MHz sample rate (DSD 1024).

With my AKG K812 and K702 Anniversary headphones, I found the DAC’s headphone amp output to be major league. Copious space and depth in the stereo image — with incredible transient dynamics — yet it projects a presentation of natural, subtle room sounds that are lower in level, but important to a balanced, accurate audio reproduction.

Via the USB input, the Burr Brown circuit handles the Hi-Res native PCM D/A conversion to 32/384 with the bit perfect mode. The advanced upsampled PCM playback allows up to 32-bit and 705 kHz to 768 kHz sample rate (depending on original sample rate). The upsample modes are engaged when you select either the Gibbs Transfer Optimized (GTO) filter, the Apodising filter, or the Transient Aligned filter. The unit also can play MQA files.

The USB input also enables native DSD playback up to 11.2 MHz sampling with the standard DSD 80 kHz filter. With the switchable DSD Remaster upsample engine, either the 512 and1024 options are engaged, DSD and PCM is upconverted to 22.4 MHz or 44.8 MHz DSD.

A DAC, a streamer....

The iDSD Pro can also stream Hi-Res audio via the various streaming services, such as Roon, Tidal, Spotify, and Qobuz. An app-controlled, smart phone also is an effective way to stream from the palm of your hand though the Pro iDSD. Or hook it into the Ethernet if you want it wired to a HD.The iFi Pro DSD also is compatible with Apple AirPlay; the Micro SD card slot provides onboard GB storage to play from a music app.

Compact but chock full of features

The unit’s front panel sports three knobs. From left to right: Input/display brightness, Wi-Fi/WPS, and volume. Below the filter switch is the tube-activation switch, which engages two General Electric 5670 tubes — if you want to add a bit of tube smoothness. There are few standalone tube DACs that have a DAC mode. I have seen disc player mods with valve analog stage D/A mods. I normally don't favor tubes at the source, but this circuit does not overly affect the pristine conversion. More of a subtle effect. The Tube+ setting mode, reduces the negative feedback of the stock tube setting. If you want no tube, just slide the switch all the way to the left.

Stellar is apt for the Pro iDSD

At nearly $3,000, you would expect the iFi Pro iDSD to be built with good parts plus state-of-the art design; your expectation would be right. Top-notch boards, galvanic isolation of connections and well-implemented signal path routing make this no slouch — even compared to costlier premium DACs.

For example, it uses a new XMOS XU216 X-Core 200 Series 16-Core processor. All-internal digital processing is Bit-Perfect, unless particular digital filters are explicitly selected. Other components include Japan-manufactured Alps rotary volume pot, audiophile-grade ELNA Silmic capacitors and a bank of Elna Dynacaps ‘super capacitors.’

Ergonomically speaking

The front panel jacks include a 1/4-inch stereo (4.4mm), 3.5mm TRS and balanced 2.5 mm TRRS for use with balanced IEMs. The 4-watt headphone amp can drive a most of headphones.

Plethora of connection options

Around back are balanced XLR outputs, unbalanced RCA outputs, a MicroSD card to play music from via a wireless app, SPDIF coax/TOSlink combo input jacks, USB 3.0 input jack, clock sync I/O BNC’s, Wi-Fi antenna. Two rear-panel rotary switches enable additional functions: clock sync options and the analog output modes (variable/fixed in Pro and Hi-Fi settings). The Ethernet port also is on the back panel.

The power supply is similar to what you get with big hard drives, A 15-volt output “brick” with a detachable IEC cord. Even without the heft of an internal power supply, the Pro DSD still feels substantial at 6 lbs. I love the port hole front display!

This DAC is priced even higher than what I see as its sonic competitors, such as Benchmark DAC3 HGC, Mytek Brooklyn, etc. But it does have features that most DACS do not have, such as the switchable tube stage. And the DSD Remaster upsample engine and the well-implemented Burr Brown DAC/analog signal path put the iFi DAC in the higher-echelon of my D/A favorites.

It reminds me of the $2,700 Prism Sound Callia level of detail — with its Cirrus chip, but similar tonal character and stereo image depth). To my ears, the Pro iDSD exhibits a little more spacious and a tad smoother with lots of filter and upsample options.

The Pro iDSD may be the best implementation of the Burr Brown 1790 series I have ever heard! I like the Bit Perfect mode for 192 kHz PCM and higher; it is the best unprocessed option that simply passes the audio straight to the converter without extra filtering or upsampling.

Burr Brown and other premium digital/analog parts

For lower PCM sample rates, 44.1 kHz, 48 kHz, 96 kHz, I like the iFi PCM digital filter choices. They give the listener subtle sound shaping, along with upsampling, that can enhance listening on drier, flatter recordings; the GTO filter, Apodising filter, and Transient Aligned filters can make audible differences, depending on the music.

You also have Bit Perfect modes for DSD, plus that marvelous DSD 512 or DSD 1024 via the DSD Remaster engine that works with all PCM (except MQA) and the DSD files. It it is hard to hear big changes in pure DSD beyond 5.6 MHz sampling, but I found the Pro iDSD quite a good upconverter of older, harsh-sounding PCM CDs.

The plethora of features and modes — including a pristine Bit Perfect audio path, multiple PCM filter/upsampling choices and killer DSD Remaster upsampling engine guarantee a setting that will suit any astute listener. Throw in quality streaming, multiple connection choices and onboard SD card storage, and you will find this DAC hard to beat.

Upconverting a 1983 Second Hearing Classical CD revealed an eased-in smoothness of the violin and cello transient tones and enhanced instrument presence; this upconversion made the early day PCM sound so much more listenable with a reduced effect of the original PCM decimation and 44.1 kHz filtering.

The tube stage, as mentioned previously, can soften original recording harshness to a slight degree, but I found my self staying in the sold state mode. By the way, I got to hand it to iFi; its tube circuit does not add any audible noise. The sonics are pretty quiet with the valves engaged.

The setup

I deployed the Pro DSD to a number of different testing scenarios including primary DAC via internal HP, line-out through an outboard preamp and using it alone as a DAC preamp. Other DACs on hand included Mytek Brooklyn, Mytek Manhattan, Benchmark DAC3, Prism Callia, TEAC UD503 and Oppo HA-1.

Speakers included Westlake Audio Tower 5, MartinLogan Montis and Amphion Argon3S speakers. All speakers were played through a Pass XA30.5 amp or Mytek Brooklyn Class D amplifier.

If you want tube or SS, the Pro iDSD has them

I used Wireworld cables for analog, digital and speaker cable connection. Power distribution was from Essential Sound Products, which keeps the AC has from spoiling my advanced bit S/N.

I played music from a Macbook Pro using Audirvana Plus, and SoundEdit 8, a Hi-Res, recording, editing professional audio music app that I use for DSD and PCM recording projects. I also connected to an Oppo BDP-205 universal player to output some great-sounding music BD’s to the DAC via an Essence Evolve II HDMI DAC bypass SPDIF output,

The audition

From the get go, I must tell you that the iFi Pro iDSD is a fantastic DAC. I have seen others reviews that did not truly appreciate its degree of high-end sonic refinement. This is a really good converter!

The Pro iDSD may be the best implementation of the Burr Brown 1790 series I have ever heard! I like the Bit Perfect mode for 192 kHz PCM and higher; it is the best unprocessed option that simply passes the audio straight to the converter without extra filtering or upsampling.

With my AKG K812 and K702 Anniversary headphones, I found the DAC’s headphone amp output to be major league. Copious space and depth in the stereo image — with incredible transient dynamics — yet it projects a presentation of natural, subtle room sounds that are lower in level, but important to a balanced, accurate audio reproduction.

These iFi engineers know how to extract every ounce of positive audio from the Burr Brown 1793, DSD Remaster Engine and the Pro iDSD’s highly satisfying analog pathway.

DMP on the Pro iDSD

I played the Tom Jung-recorded Warren Bernhardt — So Real recording, a DMP-label, DSD album from 2001 via the USB output of the Macbook Pro. Although there is no fancy ESS or AKM D/A chip, the well-regarded Burr-Brown 1793 and the Pro iDSD’s critical analog section showed me DAC’s prowess on this DSD album.

Trusty AKG's sounded aces with Pro iDSD — at any sampling rate.

On the title cut, I could hear that brushed sheen of the drum cymbals, the standout drum stick roll on the snare, and the gorgeous tone of the stereo mic’d Steinway piano — all relayed in that glorious deep stereo image the DMP recordings are known for. It sounded about as good as I have ever the heard cut.

The classic “Autumn Leaves” track also revealed the same layering of the drum cymbals and an increase in dynamic range. Ooh, those cymbal brush licks.

In top-class DACs, such as the Benchmark DAC3 and Mytek Brooklyn, there might be better spec numbers, but the iFi was right there in the straight ahead listening sessions.

I listened to a Pentatone DSD download album, the 1974 version of Berlioz Symphony Fantastique, Sir Colin Davis and The Concertglow Philharmonic (Phillips)). This is my favorite recording of this Berlioz staple, in performance and in sound quality. The richness, fullness and ultimate power of the orchestra — combined with a vastly dynamic, yet rich, analog tape character — was stellar in the Bit Perfect mode, at 2.8MHz sample rate DSD.

I kicked in the DSD Remaster upsample to DSD1024 for grins, not expecting any difference since it was a a DSD-from-analog transfer. However, the DSD Remaster mode tightened up that analog warmness in the strings to a more neutral, revealing impression of the instruments. It was subtle, but I liked it. On speakers or my trusty Sennheiser HD-650 or AKG headphones I could definitely hear the change.

Glorious nylon string guitar

Years ago, I ripped 1963 recording of The Guitar Artistry of Charlie Bird CD — the DC-area, jazz guitar player who favored nylon string arrangements. For this test, I upconverted the track “Ring Them Harmonics from 16/44.1 to 24-bit/192 and let the iFi do its stuff.

More than enough headphone connections

The cut is catchy, fast and percussion driven, via the guitar licks and the drum kit. Its stereo presentation belies its 1963 origination. It is a thoroughly modern mix that only shows its age via the bit of pre-Dolby tape hiss. Fantastic transient width and depth — with ample spread of the guitar, drums, and bass instruments in the mix.

I played it for a couple of audiophile friend from the DC Hi-Fi Group, and they could not believe that this was from 1963. Both thought it was a recent Hi-Res recording

Another cut I played to reveal the ifi’s nuance-relay capability was a real 32-bit integer PCM recording I made in the mid-2019. Real 32-bit integer is not 32-bit floating point, which is only 24 bits integer. 32-bit integer has a theoretical S/N level of 190 dB! Of course no analog parts are that quiet in real life, but I wanted to make a real 32-bit recording.

The guitar’s cedar/rosewood wood nuance subtle harmonic transients and a wide stereo image presentation are some of the best I have ever heard from a classical guitar mic’d up close. You could certainly hear them through the iFi Pro iDSD.

My high-end classical guitar recording demo recording session featured me playing a Manuel Rodriguez, solid cedar/Indian rosewood guitar. The guitar was mic’d with a pair of professional Audio-Technica 4041B microphones and a low-noise, microphone preamp that fed a Mytek Brooklyn ADC at 32-bit/384 sampling. The A/D stream was routed to a Windows 10 Dell computer, through USB, and recorded with Reaper-64, an audio-production program that does real 32-bit integer recording, mixing, and processing.

This recording sounds great on all my tester DACS, but the iFi Pro iDSD eked out a spatial presentation that was simply amazing. (Did I just record that I said to myself after sampling the audio playback via the Martin Logan 11s, a Benchmark LA4 preamp and Pass Labs X350.8 amplifier

I may not be Segovia, but the guitar’s cedar/rosewood wood nuance subtle harmonic transients and a wide stereo image presentation are some of the best I have ever heard from a classical guitar mic’d up close. You could certainly hear them through the iFi Pro DSD.

No playback deficits

I auditioned at least 40 recordings through the Ifi including tons of CDs and DVD-As and Hi-Res downloads. I never heard anything sound bad. Even old 1980’s GRP, all-digital jazz CDs sounded good. I was surprised at how good the original Telarc Classical CDs sounded via the DSD Remaster. The Firebird Suite from 1978 is way more listenable in the high-sampling DSD conversion. The dynamic range is intact, but the harsh edges are gone.

My PCM dub of the title track showcased the iFi sound

I found that use of the DSD Remaster feature or the various upsamle rate/filter options is music dependent. On PCM, more modern, 24-bit and high-sample rate recordings often are indistinguishable from the native sample rate bit perfect. The same with native DSD upsampled. However, many of old my old CDs certainly sounded better in the DSD Remaster mode. I appreciate having the option.

One last music audition with the Pro iDSD that I should mention. Several years ago, I recorded the output of my Marantz SACD player via a Benchmark ADC1 converter to see how I liked the audio character of DSD being transferred to PCM via A/D. I recorded the SACD of Midnight Sugar — The Tsuyoshi Yamamoto Trio - Three Blind Mic Records from 1975.

Overall, the iFi Pro iDSD is one heck of a DAC. I did not expect it to be near the top of the D/A heap in terms of its performance, but it is. PCM and DSD playback possibilities are numerous. And everything from old DDD CDs to new Hi-Res stuff sounds brilliant and fully fleshed. Headphone listening and through an amp/speakers the sonics are aces!

In my opinion, the PCM dub of the jazz recording did not change the sound much, at PCM 192/24, over the original DSD, so I put the tracks into my vast collection of experimental audio file HD — never to listen again. Or so I thought.

For this review, I downloaded the Midnight Sugar title track into the Mac with Audirvana+ and listened to it through the Pro iDSD. Let me tell you that through this DAC, I really like the PCM-dubbed version. Those percussive, intense piano notes, the slow, percolating bass line and tight drum fills of the title track revealed more energy — especially in the cymbal hits and the piano-note velocity.

I really noticed all that space around the instruments. The iFi took the PCM to the max. I now look at my album dub in a new way.

To bit or not to bit...

I had only one real complaint about the iFi Pro DSD, and it is simply an ergonomic omission: no bit-status display; it only reveals the sample rate of PCM. No 16-, 24- or 32-bit indicators like the Benchmark, Prism, Mytek or Oppo DACs I had on hand.

Crysopeia FPGA DSD Digital Engine

I like the bit-status feature since it tells you what the computer or player is actually outputting. On three occasions, with the Pro iDSD and the TEAC DSD Editor app on the Mac, the computer’s Audio-MDI settings utility self-switched to 16-bit output, and I did not know it until I listened closely to a Jazz recording that did not sound right. I checked the settings and clicked the 24-bit option to get the track to sound like it should through the D/A chain. Bottom Line: why don’t all DAC’s have bit displays?

My other niggle is the unit lacks the normal bottom panel feet. It has a raised rubber pad that may not give a firm enough foot print since the unit does not weigh more than 6 pounds. I kept inadvertently scooting it across a soft-top table if I clicked the Filter knob to change modes or swapped headphones. Four rubber feet spaced to the corners would lessen the instability on soft table tops. On glass it was fine.

The verdict

Overall, the iFi Pro iDSD is one heck of a DAC. I did not expect it to be near the top of the D/A heap in terms of its performance, but it is. PCM and DSD playback possibilities are numerous. And everything from old DDD CDs to new Hi-Res stuff sounds brilliant and fully fleshed. Headphone listening and through an amp/speakers the sonics are aces!

iFi Pro iDSD is a deserving selection for our awards

The plethora of features and modes — including a pristine Bit Perfect audio path, multiple PCM filter/upsampling choices and killer DSD Remaster upsampling engine guarantee a setting that will suit any astute listener. Throw in a quality streaming function, multiple connection choices and onboard SD card storage, this DAC is hard to beat.

Whether you are seasoned pro, a picky audiophile or a music fan one who just wants to listen to digital in its best state-of-conversion, you cannot ignore the iFi Pro iDSD D/A converter. It is that good. That is why it gets the a EAN Stellar Sound award and EAN Product of The Year Award in the standalone DAC category.

EAN Founder 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 SoundOnSound, 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 email: everything.audio@verizon.net

Tekton At the 2019 CAF

by Paul Elliott
(Special To EAN)
Part 4 In A Series

Capital Audiofest has grown to become the largest show on the East Coast. Over eighty rooms, very large marketplace and free lectures all three days, and three live music events Friday and Saturday nights. More on the live music later. There were some of the smaller listening rooms on the third floor of note:

Volti Audio, BorderPatrol, and Triode Wire Labs have been exhibiting together for a number of years and each year, they always get very high praise. This year, they managed two rooms. In Room 316, with Volti’s top of the line Vittora, we saw a fully three-way, horn-loaded system including an ELF (Extended Low Frequency) cabinet. I do not think the ELF is needed in these bass-heavy hotel rooms, but Greg let me know the low-frequency push is fully adjustable. The music was so involving. One just wanted to sit and toe tap the day away. Volti's tag line is “Just Have Fun” and that is just what his speakers make you want to do.

Volti Vittora, Border Patrol And Triode Labs

The rest of the equation for this pure musical experience is the BorderPatrol electronics. This represents over 30 years of exploration into what makes a electronic circuit get out of the way of the music. Gary Dews will not make changes for change sake; he just keeps producing musical amps, preamps and DAC's. If there was ever a question whether one should go with either digital or analog front end the the answer is is found in this system. And speaking of this system, a big part is the cabling.

Border Patrol's Revealing DAC2

The synergy one gets with a complete cabling from one company for the whole system is quite obvious. Pete Grzybowski of Triode Wire Labs takes great pride in hand constructing every one of the cables he sells. They are made some of the best wire stock every made. These are most likely the best-sounding cables at any price, but sell for a very reasonable price. These cables are the best value out there. The same can be said about the system in Room 309. Just about the only differences was the Volti Audio Rival speaker. This speaker is about one-third the cost of the Vittora but can rock out pure music like its big brother.

Greg was also showing in static display the new Special Edition version with curved sides, said to improve internal resonances. What was shown was an unfinished version but it can be ordered with an veneer of choice.

JA Perspective 2 Graphene

Jeff Joseph of Joseph Audio never disappoints and surprises me with a unique sound that just makes me happy. He showcased the Perspective 2 Graphene, a diminutive floor standard that pumps bass far more than its specs say. Just 36-inches tall and 8.5 inches wide, this baby can pressurize a room like 10-foot tall monster. This was easily a system I could live with; Bel Canto electronics and Audience cables tied it all together.

One of the true magicians of our industry is Peter Ledermann of Soundsmith. I say this because his products are transformative. The music played at Peter's rooms always force me to sit down, close my eyes and listen. I hear the music. Then I open my eyes and I am overwhelmed by the minimalism of the room's equipment. Just a pair of small stand-mounted monitors, a turntable, preamp, and amp. That is it. But the sound is of some massive kit of stuff.

Detailed sounding Monarch stand speakers

This time we were hearing the Monarch Bookshelf, just 14 inches high on 3-foot stands, the Strain-Gauge cartridge, the Signature Series, dedicated Preamp, and the HE-150 MOSFET Power Amplifier with 200 watts/ch. Peter had two TT set up, and he would alternate between the Strain-Gauge and the Hyperion cartridges. Both sound wonderful, but the Strain-Gauge is very different sounding cartridge and is one that I am beginning to like very much. Soundsmiths' room is one I always seek out and make sure I have time to enjoy the music.

Tekton and McGary SA2 a great combo!

I have never heard Tekton speakers as good as they did in their room. The MOAB, which is their flagship speaker with fifteen high frequency drives in an MTM array, two 12 inch woofers, claiming 98dB 2.83V@1m sensitivity, and a 20Hz-30kHz frequency response. But of course I have never heard the Tekton being pushed by the incredible McGary SA-2 tube amp. This is the first time I have enjoyed listening to these behemoth speakers. They were coherent, precise, and smooth. I give the nod to the McGary amp for carrying the musical load here.

Greg Tekesh hybrid planar speakers

One of the most highly acclaimed rooms at the show was the GT Audio Works room, just off the Atrium. I have to agree. Greg Tekesh hybrid planars have always presented a slamming sound. But not only excitement, but a highly musical experience. With specially designed, open-baffle servo controlled subs that easily keep up with the planars' quickness. The open-baffle sub-woofers operate from 15 Hz-65 Hz and include a user adjustable electronic crossover built into the provided amplifier. The open baffle subs are designed to blend seamlessly with the dipole planars.

They are configurable for 2 to 6 12-inch sub-modules per channel. Allowing consistent results in rooms — from small to large. So we have a system that has a frequency range of 15 Hz to 30 kHz. Pass provided the power and control. This electronics were housed in a beautiful, custom-made cabinet made by

Exquisite hand-made Mozart Audio Furniture

Bruce Schuettinger of Mozart Audio Furniture, who was showing a three-bay cabinet. The finish was Spalted Maple veneer. All interior shelves are isolated and and decoupled from the frame, including the top which is literally floating. The feet are Stillpoints for maximum isolation from room vibrations. This is one amazing looking cabinet.

A stack of VAC

The VAC/Von Schweikert VS Endeavor SEroom always impresses for the sheer magnitude of the presentation. It is a rare sight to see this much equipment for one system. For most of the weekend, they were playing the big VS Ultra 11 statement speaker. I have heard this set up numerous times, and it is a big sound. Very Hi-Fi. If you are into this kind of system then this is one of the best.

On Sunday, it was a very different story. They were playing the much smaller, VS Endeavor SE. I was blown away. All the same electronics, and we have that same room filling sound but much more musical. Totally involving instead of bowling you over.

Von Schweikert VS Endeavor SE

No sledge hammer here. I have always liked the VAC sound, I am a tube guy after all, but this was the best I have heard in a big system. For the first time, VAC was showing off the new Statement 452iQ Musicbloc — 450 watts mono or two x 250 watts in dual mono. Eight Gold Lion KT88's pumping away.

On the final day, CAF goers were treated to a seminar put on by Mytek Digital on “Everything About Streaming Audio.” Michal Jurewicz, founder and principal designer of Mytek Digital and Chibon Littlefield, also from Mytek, gave us a great overview for digital streaming and was very generous with their time in answering the audiences questions. John Gatski of Everything Audio Network was the moderator.

High-res streaming with Michal Jurewicz of Mytek Digital

At most audio shows I have been to its usually a very small number that are actually musical to my ears. With CAF this year there were over half that sounded good to me and there were about twenty that were exceptional, and I what I tried to do was to highlight some of those. I hope that is a trend that will continue at the Florida Expo and Axpona next year.

What most readers seem to want is a declaration of a “Best in Show.” I have reflected on this for quite awhile and decided not to follow suite with the other writers on this genre. What one hears what is presented at these show is full for so many traps. This hobby is really a journey of one of two things. Either we are just showing off or in some weird competition with our audio buddies on who can have the “Best” stereo or we are on a very personal trek to solve some inner drive to get the most emotion from our love of music and relieve some magical moment in our past when we play a particular track.

Either we are just showing off or in some weird competition with our audio buddies on who can have the “Best” stereo or we are on a very personal trek to solve some inner drive to get the most emotion from our love of music and relieve some magical moment in our past when we play a particular track.

There is nothing really wrong with either of these two avenues if it keeps the manufacturers pushing to improve their products in producing equipment that can get out of the way of the music. Some do a pretty good job at that now and I am finding that the digital side is very good now and seems to be approaching musicality at a very high level now a days. Its always going to sound different from analog but I am finding digital can be very satisfying. Its really about the music and what the music does to us.

What CAF continues to bestow on us and that we enjoy, are a few live music presentations. If you are on the journey of musicality then your reality check must be live musical performances. It was obvious that all these presentations were from musicians that love what they are doing. It came through to my heart and soul. So I give my “Best in Show” to all three groups:

If you are on the journey of musicality then your reality check must be live musical performances. It was obvious that all these presentations were from musicians that love what they are doing. It came through to my heart and soul. So I give my “Best in Show” to all three groups.

•Jay Summerour And Friends treated us to some juicy Piedmont Blues. These guys are well know in the DC area playing for many Smithsonian events. Their latest recording is “The Best of A Little Bit of Blues” I've ordered the CD! in the hotel bar Friday night.

•Embassy Jazz Messengers. This group has played CAF for a couple of years now and they put forth a great straight ahead jazz set the everyone within earshot seem to enjoy in the hotel bar Saturday Night.

•The Spellcasters that played music from the Anacostia Delta in the Washington Theater later in the evening. This group transported me. Music I have never heard before. Bluesy, Jazzy, free wheeling music that just about evoked every genre of music except Gregorian Chant (maybe). I felt very lucky to have been one of the eighty or so in the audience.

Embassy Jazz Messengers

Capital Audiofest has grown to be a major show now and we are very lucky to have Gary Gill and his crew of volunteer, especially the DC Hi-Fi Group. to put on this show each year. This is a major effort and work has are ready started for next year. Can't wait to see what's in store for November 2020. See you there!

Paul Elliott is a long-time audiophile, based in Baltimore. He is a freelance writer and member of the DC Hi-Fi Group. EAN is an audio review web site/blog. EAN Founder 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 SoundOnSound, 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 email: everything.audio@verizon.net

A tower of Benchmark at Florida Audio Show

by Paul Elliott
(photos courtesy of Paul Elliott)

It was thought to be a good thing to be in Tampa in February 2-3, escaping the cold of Winter in Baltimore. Thursday, it was in the 80s when I arrived. Thursday night we had a tornado (F1) pass by and dissipate just a half-mile away. The rest of the weekend was what we come to Florida for, bright and sunny outside while we scurry up and down dark halls sniffing at and lifting the skirts on the newest and best in audio gear. I guess this is where I say “what a strange world we live in.” Is this a mixed message here? Maybe. I like music and I want it to sound good in my home. Yes, this is where I should be.

The Feb. Florida Audio Expo is growing.

A regional southern audio show

The Florida Audio Expo, held at the Embassy Suites Hotel, is still in the toddler stage with this being the second year. Last year there were around 40 or so rooms. This year there were 60+. Big increase for the two-year-old audiophile gathering. No public calamities that I saw or heard about. Everyone seemed to enjoy themselves — both vendors and participants I chatted with seem to agree. The hotel provides a great breakfast for anyone with a room key. Friday was a busy day, Saturday was very crowded, and Sunday well there was plenty of room to move around in.

I’m going to touch on 15 to 20 rooms very briefly over three or four parts with a final bit on the overall show and highlighting four remarkable (personal choice here) rooms. I did the top-down thingy, starting on the twelfth floor and working down to the big exhibit rooms on the second floor on Sunday.

An HP audition of Benchmark HPA4 and DAC 3

The king of pristine!

My first room was the Benchmark room to make my editor happy. All of the Benchmark products were on display. The Benchmark HPA4 Headphone Amp combined with a the Benchmark DAC3+ were all around the room.

I listened to a wide range of headphones from the Audeze LCD-2($899) to the Focal Stella for $3000. The LCD-2 must be considered a bargain with Planar Magnetic drivers — with a published response of 10 Hz to 50 kHz. They all sounded great with the sonic flavors evident via the revealing Benchmark tandem.

The Audeze LCD 4Z ($3995) features dual, push-pull magnet structure, 5 Hz to 50 kHz response and high efficiency, with a fit and finish that can only be described as “elegant”; the Meze Empyrean ($2999), with its “Isodynamic Hybrid Array,” were my favorite. The Focal Stella with the highest efficiency and lowest distortion was simply amazing, but a just a bit forward in the highs for me.

A pair of Steinheim Alumine 3's

Aluminum speaker by Steinheil

New to me was the aluminum-cabinet speakers from Switzerland. The SteinheimAlumine 3 floor stander. Beautifully made and standout looks. It sounded very precise to me. Driving this tandem of 154 pound, 41-inch-tall speakers was the VAC 200 iQ and Master Line stage. When I was in the room it was the Aurender A30 ($18K) — a do-all caching music server, Streamer, CD Ripper, HDD Storage, and Full MQA Decoder DAC, and Headphone Amplifier, —doing the honors. Aurender was in many rooms here in Florida, and I can see and hear why this is such a popular digital piece of kit.

AMG Giro TT/9WT tonearm with optical "stylus"

Budget magnepans from Musical Surroundings

It is a rare thing to run across Magnepan speakers at an audio show, and they do pop up every once in a while. The Musical Surroundings room up on the eleventh floor highlighted a pair of .7’s ($1,400) sounding very nice. I have been a fan of Magnepan for a long time and have a pair of 3.3a’s in my main system. If your room lets you place the speakers far out into the room, dipoles present a very seductive sound. Starting from the source, an AMG Giro deck and a 9WT tonearm ($14.2K) (with an optical cartridge system), the DS Audio E-1 ($2,750).

This cartridge system uses light to measure the distance that the stylus moves and converts this to an analog. Included with the cartridge are a dedicated power supply and RIAA equalizer. No need for a phono preamp, so the price is extremely attractive. The little tower thing with green lights standing next to the AMG Giro is the DS ION-001 ($1,800) vinyl di-ionizer, that removes static electricity build-up on the LP surface.

Powering the Magnepan .7’s was the Rogue Audio Cronus Magnum lll integrated amp ($3k). This 100-watt/channel, KT120, push-pull amp had plenty to drive the power-hungry Maggies. As with every Rogue amp, the sound was impressive — extended stereo image, detail and a tight fast bass!

Raven Audio Elite Silhouette

The Texas guys: Raven Audio is always a “jumping” room. They were showing two systems, sort of top and bottom. Both using the superb Mytek Brooklyn DAC+ ($2,195) and Manhattan II ($5,995) as a source. The budget system had the Blackhawk Mk lll (around $4k, depending on the choice of a wide range of NOS tubes) integrated amp with 6L6’s belting out 20 T-E-X-A-S size watts for the Celest’ Tower ($3995) using their Waveguide (horn) tweeter to minimize room reactions.

Blackhawk Mk lll (top), Elite Series Silhouette Monoblocks

The second system we heard the Corvus Tower system consisting of a monitor sitting on top of a bass module allowing for a full range (20 Hz to 20 kHz) system. For this system, Raven was showing off their Elite Series Silhouette Monoblocks ($27K). They know what slam is in Texas, maybe they invented it, and it was in the room with aces.

Modwright high end digital and analog
The ModWright room was sounding right, real right with the debut of the Eggleston Works OSO floor standers ($12K). This was one of the rooms I wish I could have spend much more time in. This was a small floor stander with a big sound; this speaker has the finesse to be intimate. Wolf Audio Systems was doing the honors when I hit the room with the Alpha 3 SX ($9895) music server.

The T+A MP 3100 HV DAC SACD player

This new model pushes the limits of micro-vibration control, electrical grounding, and radio frequency (RF) suppress for black hole quite backgrounds. The T+A MP 3100 HV DAC SACD player ($21K)” is now capable of carrying out the full-signal processing of DSD bitstream data — in addition to processing PCM data to impeccable standards. This extensive development was necessitated by the machine’s new integral disc mechanism: an SACD drive which is a completely new development, featuring the very latest decoder, and capable of reading CD (PCM 44.1 kHz ) and SACD (DSD 64/2.8 MHz) discs at the highest possible quality.

The other digital sources, both integral and external, also benefit from this new improvement. As in the MP 3000 HV, PCM data is converted using our outstanding double differential quadruple converter for all the digital signal processing. DSD data are handled by the unique analog true 1-bit DSD converter from the PDP 3000 HV, which processes the DSD data in native form as a bitstream rather than converting them”.

ModWright kept everything under control with its KWH 225i Tube Integrated ($8,495). This is a Class-A, tube design with increased power to 225W. It sounded terrific!

Valentia Active Speakers ($12,450)

David Janszen’s room was unique in that there was no equipment alter. The Janszen Valencia floor standers ($12,450) are active (built-in bi-amplifiers) with balanced inputs (can use adapters for RCA’s). Dave was using a Bluetooth adapter to play music files from his phone. The sound was lively, full range and focused. These speakers use two electrostatic panels behind the grill cloth that disperse the majority of the sound spectrum at a wide-angle. I detected no beaming; low frequencies were handled by dual 6.5-inch woofers. The frequency response is an impressive 20 Hz to 32 kHz. The crossover is DSP — for a very clean sound.

The Active Janszen Valencia

Also, David Janszen was showing a prototype (the seventh) of his new Lotus electrostatic headphones. These are getting pretty close to full production. I loved the sound. Laid back and very smooth. No hard edges, just simply marvelous. They do have a battery to bias the diaphragm that one must remember to turn on via a touch switch. The battery is rechargeable, providing four weeks of four hours a day of use. The frequency response is full range — from 18 Hz to 32 kHz. These weigh only 500gr. I can hardly wait to buy a pair.

Part II of Florida Audio Expo coverage is coming!

Paul Elliott is a long-time audiophile, based in Baltimore. He is a freelance writer and member of the DC Hi-Fi Group. EAN is an audio review web site/blog. EAN Founder 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 SoundOnSound, 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 email: everything.audio@verizon.net

“An A/V Box Every Audiophile/Videophile Should Have”

Brevis...

Price: $299

Likes: 8 ch. of D/A, 2.0 D/O

Dislikes: TOSLink-only digital

Wow Factor: multi problem solver

Info: EVOLVE II-4K

by John Gatski

I love audio problem-solving boxes. Covert this, convert that, match levels here, pro to consumer, consumer to pro. You name it, I have probably reviewed it in my nearly 30 years of evaluating gear.

Enter the Essence EVOLVE II-4K ($299). Similar to the company’s original Evolve interface from a few years ago, the new unit has been updated with HDMI 2.0 for 4K sources and displays and great sounding 7.1 multi-channel ESS DAC chip.

The EVOLVE II-4K evolved from the product line of original HDMI de-embedder from seven years ago. In fact, I did a roundup review in the spring of 2013. (Click Here to read the roundup.)

The EVOLVE II's DAC performance, combined with a quality, multi-channel analog input/output preamp, rivals or exceeds what you get out of many modern pre/pros, receivers or BD player D/A sections. An Oppo 205‘s analog output did not sound any better than the EVOLVE II through my AudioControl Maestro M3 pre/pro.

These de-embedders allow users to take the LPCM audio from a HDMI output source, such as a universal/Blu-ray player, and play it through the box’s internal DAC (multi-channel or stereo). More important to me, these problem solvers allowed the end user to tap into a universal player’s original two-channel output, via the HDMI, and feed an outboard DAC through a SPDIF output contained in the de-embedder. BD, DVD-A’s, files on a USB stick could be output full hi res via the de-embedder-to-DAC connection.

These de-embedders became very popular for audiophiles and videophiles who wanted more versatility from their Blu-ray player.

Enter the EVOLVE II-4K

The Essence EVOLVE II-4K is the most complete HDMI interface box yet. It features HDMI input (accepting any HDMI standard from 2.0 back and older), 7.1 channel internal ESS DAC via RCA output, two-channel PCM up to 24/192 via TOSlink, and finally, HDMI pass through, which means this box enables compatibility of older and newer HDMI standard products, such as receivers, pre/pros and BD players.

Easy-to-connect: HDMI in and analog or TOSLink out

The compatibility with HDMI 2.0 standard means that it supports 4K video and advanced audio formats such as Dolby Atmos. If your current preamp or receiver does not support HDMI 2.0, you can use the EVOLVE II-4K as a video I/O and the multichannel analog output routed to your existing pre/pro or receiver

My interest in the EVOLVE II-4K was two fold: first, to maintain classic HDMI de-embedder capability to grab the full hi res stereo PCM stereo soundtracks from BD's and DVD-A's and feed that audio to a separate, outboard stereo DAC; and second, to enable high quality multichannel D/A conversion capability for those who have great legacy multichannel input preamps or receivers, but can no longer find multichannel D/A BD players to connect. Oppo was the last man multi-channel BD player standing, but gave up the fight two years ago with its much-lamented shutdown in 2018.

Features

The EVOLVE II-4K is a simple, easy to use problem solving interface. It is a half-rack sized, powered by a 12-volt, DC external wall wart. It sports a rear panel connection panel with HDMI input, HDMI pass-through, TOSlink digital output and 7.1 multichannel analog output, thanks to the ESS chip set. The analog outputs are: L, C, R, SL, SR, SBL, SBR, and SW. That’s all there is to it. So simple, yet so useful. A selector switch selects between TV 24/48 mode and full LPCM 7.1 channel output.

The EVOLVE II-4K was designed with the ESS 9008 8-channel, 24-bit chip set, which is more modestly priced than the 9018/9028/9038 32-bit upper end series DAC chips. (The 9008 chip is able to decode DSD from an HDMI equipped SACD player, but the DSD-to analog conversion is not enabled in the EVOLVE II).

As proven by the EVOLVE II’s subjective performance, the ESS 9008 is a very good sounding chip set, and its lower price helps keep the EVOLVE II cost down. The EVOLVE II's $300 price point is amazing — considering what it does, and how it sounds.

ESS 9008 DAC Chip Factory Specs

DNR: +134 dB (mono mode)

DNR: +128 dB (8-channel mode)

THD+N: –118 dB (8-channel mode)

Tap into your BD player's bitstream
For those who rely on separate DACs but want to link to an HDMI-equipped player, the EVOLVE II enables you to extract the digital LPCM, hi-res, stereo soundtrack from Blu-ray concerts and specific BD hi-res albums that players do not allow to be transmit in full-res outside the player’s internal converter. Try plugging a BD player's SPDIF output into a DAC and play the Blu-ray music. Nada, it wont play it. Plug the HDMI into the EVOLVE II, and viola, full hi-res stereo to your favorite DAC or the essences's box’s internal DAC.

A RCA portable BD player becomes a hi-res audio player

For those with DVD-As, most BD/universal players will “dumb down” the SPDIF digital output, 24/96 or 24/192 will become 16/48, or 24/48. Down conversion sounds awful. But with a player’s HDMI output connected to the EVOLVE II, your DVD-A’s 24/192 stereo can be output to your favorite DAC through the TOSlink output. No dumbed down audio with Evolve II.

My other favorite feature of the EVOLVE II is its ability to give excellent multi-channel D/A conversion (and inexpensively) for those who have great sounding preamps with multi-channel inputs that don’t have or don’t like to use onboard conversion. In the early days of BD players, they all had D/A multi-channel outputs. They disappeared as preamps and receivers with onbaod DAC's took over, but the prepare/receiver D/A sections quality is not always better than a players D/A output.

With a BD/universal player’s HDMI output connected to the EVOLVE II, your DVD-A’s 24/192 stereo can be output to your favorite DAC via EVOLVE II's TOSlink output.

There are great sounding analog input/output legacy preamps and receivers from Lexicon, Parasound, AudioControl, Marantz, Denon etc, that just need quality input source. If you have an older Oppo 83 to 205 series that still work, you are good to go, but those players are getting old, breaking down — and parts are hard to find. The Evolve II is yor best choice if you want to keep using analog input preamps sections for multi-channel.

The EVOLVE II allows you to take any BD player with HDMI, even a $100 one, and feed the EVOLVE II HDMI input, which decodes the LPCM 7.1 bitstream (Dolby Digital, DolbyTruHD, DTS Master HD) etc, and outputs audio via the eight RCA analog output jacks. Just like your Oppo (or any other onboard multi-channel D/A BD player did). If you liked the sound of your of your analog I/O, multi-channel preamp or receiver, you can keep using it. Thanks to EVOLVE II.

In Use

I set up several testing scenarios for the EVOLVE II: one for feeding a stereo DAC from EVOLVE II’s TOSlink output and the other for three multi-channel interface scenarios, utilizing the EVOLVE II's multi-channel DAC output for connection to two older, analog, multi-channel input receivers and high-end multi-channel pre/pro.

For example, I played the 24/192 stereo tracks from the 2L Ole Bull classical violin Blu-Ray, and it sounded amazing, coming out of the $149 portable, battery powered, RCA BRC 3087 Blu-ray car player. The Benchmark DAC was doing all the conversion, thanks to the EVOLVE II interface.

For the stereo PCM de-embedder, the Evolve II worked like a charm. I could use most any BD player. Just plug in the HDMI output from the player to the EVOLVE II, and connect a TOSlink cable from the EVOLVE II to a separate DAC, such as my Prism Sound Callia or Benchmark DAC3 HGC. The former required an optical-to-RCA digital converter connector

For example, I played the 24/192 stereo tracks from the 2L Ole Bull classical violin Blu-Ray, and it sounded amazing, coming out of the $149 portable, battery powered, RCA BRC 3087 Blu-ray car player. The Benchmark DAC was doing all the conversion, thanks to the EVOLVE II interface. It also worked like a charm with the Prism Callia DAC.

Music BD play options increased with EVOLVE II

I really enjoyed my two concert Blu-ray’s: The Who— Live At The Isle of Wight, and Woodstock— Anniversary 2.0 sereo soundtracks, using the RCA car player. The EVOLVE II’s ability to relay two-channel PCM stereo output also means you can play hi-res files up to 24/192 from USB drive port Blu-ray players.

Also, if you have an economy BD player with only a built-in HDMI output (not even stereo analog out), you can use the EVOLVE II's L- and R- analog DAC outputs and still have better sound than 90 percent of the receivers out there that are used as the DAC for BD players. (New receiver D/A sections seems to be designed with economy, rather than audio quality, in mind.)

The onboard EVOLVE II’s ESS DAC is really good. You have to really have an astute ear to discern appreciable difference between it and more up-scale DACs in real world listening. The sound character is smooth.

Full-res from legacy DVD-As
Switching BD players, I tried an eight-year old Pioneer universal player that can also plays DVD-A's. I played a few of my favorite DVD-A’s: Talking Heads — Little Creatures, Queen — The Game, Grateful Dead — Workingman’s Dead, Fleetwood Mac — Rumours, Yes - Fragile, Jethro Tull - Minstrel In The Gallery, David Bowie - Young Americans, and numerous AIX Records DVD-A titles.

Thanks to EVOLVE II, as the go between box, I enjoyed transparent DVD-A PCM transmitted from the Pioneer to the Benchmark DAC3. No dumbed-down conversion, reduced quality out of the player for me.

Multi-channel DAC via EVOLVE II

The EVOLVE II is basically the last box standing in terms of giving us audiophile/videophiles the equivalent of multi-channel output BD player. With its ability to convert advanced digital audio bitstreams to 7.1 channel analog output for connection to your favorite analog input multi-channel preamp, the EVOLVE II is the new Oppo.

You may have forgotten how good older, multi-channel,analog input preamps and receivers sounded with analog input from the older BD players. Well, I have not forgotten, and I truly lament the demise of onboard BD player D/A conversion and the lack of multi-channel inputs on most newer pre/pros and receivers.

To test the EVOLVE II’s D/A conversion quality, I tried it with a mid-priced 2006 Denon 2802 A/V receivers with good-sounding, multi-channel I/O preamp/amp section, and a 2012 AudioControl Maestro 3 Pre/Pro, also with multi-channel analog/input.

Give multi-channel analog input receiver new life.

Using the EVOLVE II, I was impressed with how good the old Denon receiver sounded using the EVOLVE II DAC/Denon 2802 receiver for the audio. The ESS 9008-based 7.1 D/A in the EVOLVE II, in combo with the 2802's multi-channel preamp/amp sections, showcased a smooth, articulate sonic signature for surround track listening.

The Evolve II's sonic character is much smoother than many newer, mid-priced receivers that use cheap, onboard D/A decoding and skimpy amps. On the Adele — Live At The Albert Hall Blu-ray, the dynamics and concert space impressions were very positive from the $300 box.
A sample of the animated BD, Monsters Vs Aliens, revealed the EVOLVE II’s smoothness and abundant detail on movie soundtracks. I was impressed with the ESS 9008 D/A chip while doing the review. It sounds really good. Only on very careful A/B listening tests, with matched stereo track levels and a transparent revealing headphone amp, could I hear any differences between the EVOLVE II and an Oppo 205 BD/universal player’s analog output. The EVOLVE II is that good!

Legacy prepro's like Evolve II
With the EVOLVE II's 7.1 output linked to my 2012, AudioControl Maestro 3’s analog multi-channel input, I found the playback of the same movies and concerts a step up over the Denon receiver, due to the AC’s Arcam-based, more upscale analog section (the M3 was originally $7,000). I used three Mytek Brooklyn Class D amps for amplification and my reference professional Westlake Cinema speakers in a 5.1 configuration.

By the way the Maestro’s onboard D/A processor used a highly regarded Wolfson multi-channel DAC in its day (and even today it sounds good), but I could not reliably hear a difference when I compared it to the EVOLVE II’s multi-channel D/A performance. The box always impressed my ears.

The Maestro 3/EVOLVE II combo also made for a great stereo music listening experience. Although its design is from a few years ago, it is definitely audiophile in character. I particularly liked how good my AIX Mark Chestnut Blu-ray disc stereo soundtrack sounded with this combo.

The verdict
All in all, the Essence EVOLVE II is a no brainer for getting HDMI audio devices to link up and produce quality audio. It transmits up to 24/192 LPCM stereo, as well as the advanced, lossless audio soundtracks of movies — via the multi-channel 7.1 output. It also allows your HDMI video to pass straight to a TV (through the HDMI output) so you can have the latest 4k LED TV and use your old pre/pro or receiver. With the EVOLVE II box, you do not need to upgrade the receiver.

Thanks to EVOLVE II, as the go between box, I enjoyed transparent DVD-A PCM transmitted from the Pioneer to the Benchmark DAC3. No dumbed-down conversion, reduced quality out of the player for me.

I think the EVOLVE II is a steal at $299. My only complaints: it does not decode DSD from SACD/universal player. I did find that with an HDMI-output Macbook Pro laptop, the EVOLVE II would pass a software-based player’s (Audirvana, FooBar, etc.) DSD-over-DoP data stream through the TOSlink output jack. The DSD data stream is transmitted inside a LPCM 24/176 carrier, which is decoded by a DSD-over-DoP capable DAC; I used a Benchmark DAC3 HGC to decode the DSD that was passed through the TOSlink connection. The EVOLVE II internal converters do not convert the DSD.

My other niggle was that Evolve does not have a SPDIF coax jack. Some of the newer TOSLink circuits in other devices do not support 24/192. RCA SPDIF always does.

The onboard EVOLVE II’s ESS DAC is really good. You have to really have an astute ear to discern appreciable difference between it and more up-scale DACs in real world listening. The sound character is smooth.

Overall, the EVOLVE II is a quite useful as a low-cost, combo HDMI de-embedder/high-quality, multi-channel DAC that nets you up to 24/192 quality from lossless codecs (DTS MasterHD, Dolby TruHD) and LPCM multi-channel or stereo audio. This box gives you the ability to use virtually any Blu-ray player with any legacy or current multi-channel input analog preamplifier, or preamp section contained in a receiver. And the results are amazing, given the price. The SPDIF output offers two-channel music lovers the ability to play BD and DVD-A soundtracks through an outboard DAC.

Video-wise, the EVOLVE II's HDMI 2.0 spec input/output bypass circuit also allows the end-user to connect to any 4K screen, and enables older legacy HDMI devices to work with newer receivers and preamps.

The EVOLVE II's DAC performance, combined with a quality, multi-channel analog input/output preamp, rivals or exceeds what you get out of many modern pre/pros, receivers or BD player D/A sections. An Oppo 205‘s analog output did not sound any better through my AudioControl Maestro M3 pre/pro.

And in a later test scenario, I found that the EVOLVE II's multichannel D/A output sounded better than a $3,000 Marantz receiver I had on hand. The Marantz's internal decoding was, subjectively, much more closed in than the Essence EVOLVE II’s multi-channel D/A output connected to the Marantz’s analog inputs.

If you have a multi-channel analog preamp that you always liked the sound of, the Essence EVOLVE II-4K HDMI v2.0 DAC is your savior. The gravy is that it also gives you compatibility with legacy HDMI AV formats, and it de-embeds full-hi res, Blu-ray and DVD-A stereo PCM audio and passes it to your fancy, shmancy audiophile DAC. Enough said. Buy this box! It was good enough to make EAN's 2019 Product of The Year selections.

EAN Founder 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 SoundOnSound, 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 email: everything.audio@verizon.net

by Paul Elliott

After a lively Friday with a good crowd going through the show, Saturday, Day 2, could only be described as crowded. There were some rooms that I could not get into and I had to note to myself to come back. The Florida Audio Expo, was held Feb. 2 and 3 at the Embassy Suites Hotel in Tampa.

These shows are great because there is always something new. I do not mean a new model or version of a previous product, but something that is really new in our realm. There is a company that has heard the cry of “bring out a product that makes sense!”

Andover's neo console

Andover has brought a record player that can be considered by the way it sounds an entry-level audiophile product. The Model One Record Player dose sounds just great. Almost a throwback to the console. It is modular in that you can start off with the top (Model One), which consists of a built-in TT (Pro-Ject Debut Carbon Espirit SB), and cartridge (Ortofon OM2 Silver).

Consoles are cool again

In this box, there are proprietary isolation for the TT, four woofers and two air motion tweeters, full-range preamp, bi-amplification, dedicated headphone amp, wireless Bluetooth, analog and digital connectivity, including Streaming Device Support. The digital connectivity includes a mini-USB connector for a two-way PC connection that will allow a 16-bit connection. There is an optical (24 bit/96k) and coax connection (24 bit/192k) for an external DAC connection. Sometime in the next three months, there will be a $100 streamer called the Songbird available. That is a lot of stuff in this small tabletop box.

But there’s more. You can add LP storage and or a subwoofer. The system needs to be against the wall and have space on either side. The sound radiates out the sides and bounces of the wall to give an extremely wide image. Yes, the Model One images; it’s dispersed, not sharp distinct instruments but has a very pleasant sound that would be home in any living room or dorm room. I consider this a lifestyle product for the average Joe. I am sure the high-end critics could pick the sound apart. But this is a product to play and enjoy music. Andover also has the Spinbase which is just the amp and speakers with built-in isolation for a user-supplied TT.

Andover Planr magnetic PM-50 HPs

And the surprises just keep coming. Andover has a planar magnetic headphone, the PM-50. These are open back, very comfortable and in keeping with the rest of Andover’s products, sound great at a very reasonable price point. $500. I do not think you can hear a better headphone unless you spend three times more. Click Here for more company info.

Meze Empyrean HP and HeadAmp GS-X Mini-Amp

I have made it a personal goal this year to gain an understanding of the headphone world of audio reproduction. I have been lucky to have a dedicated music room and felt there was no need in my life for headphones other than at the gym or on my workbench. So, at this show instead of skipping the headphone vendors, I started to explore with a renewed enthusiasm.

I listened to the Meze Empyrean up in the Benchmark room, which I liked very much. So here in the HeadAmp room, I had another chance, coupled to their GS-X mini amp. Boy, was this a good combination. Talking about being there = into the music. Talking about silky smooth, like diving into a tub of warm peanut butter.

HeadAmp Blue Hawaii: perfect for playing Elvis music

Their flagship system included a Blue Hawaii and the SR-009s Stax headphones. These headphones come alive with detail, transparency, and bass control unheard with lesser amplifiers. This was a very special sound; also, very fast and precise. The Blue Hawaii amp uses EL84 output tubes. They have solved the production lag time and can now promise four-week delivery. Click Here for more company info.

ML Renaissance alway first class

The Martin Logan room was sounding great, better than I have heard at other shows.The Renaissance ESL 15A (Featuring a 15-inch (CLS™) XStat™ electrostatic transducer, dual 12-inch PoweredForce Forward™ woofers powered by dual 500-watt Class-D amplifiers, and controlled by a 24-Bit Vojtko™ DSP Engine and Anthem Room Correction). This efficient speaker is capable of 22 Hz to 21 kHz frequency response (the demo room did not need the Balanced Force 212 subwoofer).

MartinLogan Renaissance And the Mac 352 INT

ML’s Dennis Chern set up the room perfectly with a very wide image and no beaming of the highs. The music was very fine from anywhere in the room. The new McIntosh 352 Integrated amp a hybrid design with a vacuum tube preamp and solid-state power amp, capable of 200 Watts into 8 Ohms and 320 Watts into 4 Ohms with a 5-band tone control. MAC has kept the classic look in this unit, for all the MAC lovers out there. Click Here for more company info.

70 wpc made-in-Greece Tsakiridis Aeolos Ultra integrated amp

Antal Audio Group, an upstate NY dealer, was showing a pair of french Triangle Signature Delta speakers driven by Tsakiridis electronics. Tsakiridis are Greek designed and built. I find the Tsakiridis equipment most intriguing. First, there was lots of glass, and I like tube amps.

There was a configuration the would make just about anyone happy. SET’s, push-pull's, Integrated, power amps, monoblocks, preamps, you name it and they have it, in what I call as an updated classic form. Very handsome looking stuff, at a price point that is hard to believe. The sound was excellent, would make anyone very happy to have in their living room.

Triangle Signature Delta

What we were hearing was the middle of the line of Triangle speakers, driven by very reasonably priced electronics. The Alexander line-level preamp with phono retails for $2,695. The Orpheus (211) 15w monoblocks were $3,600/pair. The Aeolos Ultra (KT150) 70 watt integrated is $3295. This stuff is a bargain. Click Herefor more conpany info.

Spatial Audio And LTA

In the Spatial Audio room, they had a show special for $10.5k that was a shocker. The sound was alive, a being there moment. We had the Spatial Audio M3 Sapphire, introduced earlier this year with the Lampizator Amber 3 DAC ($2750) and the Linear Tube Audio Z10 Integrated amp ($4,900). If you did the math you were practically getting the DAC for free. When they said, “Show Special” they meant it.

Spatial Audio M3

I have known Mark Schnieder from the beginning of LTA and watched and listen to the growth and improvements in the products over time. But I noticed a big change at last year's Axpona. Music was becoming more to my liking, sweeter, rounder, and most satisfying. So when I had the chance I asked, “what changed”? Besides the obvious, Mark told me that the new case work not looks really good, but it also dampens vibrations in the unit.

He told me they just spent a lot of time listening to various components in the signal path and made changes where it was a positive change. This integrated amp if your speakers are highly efficient is a beautiful piece of kit.

Made-in-Maryland Linear Tube Audio Z10 integrded amplifier

The Spatial Audio M3 is a good match for this Integrated. This is a two-way open baffle speaker. I am a big fan of dipoles. They present what I feel is a very realistic image. There is nothing holding anything back here. Nothing to get in the way of the music. Presence, presence, presence. Drop the mike.

I went back on Sunday morning and listened again talked with Clayton Shaw for a while, and bought a pair. Click Here for more Spatial Audio info. Click Here for more LTA info.

"Kick-ass" HP amp from TCA

On TCA’s website under the “About” tab, it says – “I am Tom Christiansen, and I design kick-ass audio circuits!” I heartily agree. Tom Christiansen designs and builds the little HPA-1 headphone amp in Canada. Only the case is made overseas.

The TCA HPA-1 will "catch your ear"

This amp can drive almost any headphone (Non-electrostatics) with 1-watt output at 32 ohms and .25 watt at 300 ohms. The noise floor is in a black hole along with the THD; “kick-ass” is right. I listened with the Sennheiser HD-600 and a Tidal feed. I could have spent the rest of the day there, mining the music library, and I know I would never tire of the sound. This $899 amp gave up a large and highly realistic soundstage that kept my interest note after note.

Click Here for more company info.

MoFi $10,000 Audio System

The final room for the day was the MoFi room. Another $10k show special room. I guess the bean counters figured that $10,000 was a magic price point for an impulse system buy.

Swiss-made Piega Premium Wireless 701

The speakers were the Piega Premium Wireless 701 from Switzerland. This was the USA debut. A nice looking aluminum cabinet floor stander. These were active and wireless. Just an AC mains cable. Controlling these beauties was the new Primare I15 integrated amp being used as a preamp. A very clean looking and sounding system. Click Herefor more company info.

***More Florida Audio Show coverage to follow with Part Three!***

Paul Elliott is a long-time audiophile, based in Baltimore. He is a freelance writer and chief photographer of the DC Hi-Fi Group.

EAN is an audio review web site/blog. EAN Founder 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 SoundOnSound, 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 email: everything.audio@verizon.net

Brevis...

Price: $7,985

Likes: Magnificent sound

Dislikes: Would be quibbling

Wow Factor: Silky smooth dynamics!

Info: McGary Audio

by John Gatski

I have reviewed a lot of amps in 30 years of evaluations. Numerous solid state and tube amps. When it comes to tube designs, I make I no secrets that I am fond of the quiet, quick accurate, valve designs over the overly smooth, euphonic versions. I like folks like Rogue Audio David Berning, LTA and the like.

Two years ago, I reviewed the made-in-Virginia McGary Audio SA-1, a 30-watt powered EL 34 output stereo amp and really liked its ability to resolve Hi-Res music with a detailed, tight bass and dimensional stereo image. However, some owners said that with their speakers, the McGary sound needed some more horsepower. Hence, the McGary SA-2 Stereo Amplifier.

Features

Retail priced at $7,985, the SA-2 is hand assembled-in-Gainesville Virginia by Mike McGary, an engineer and part-time hi-fi designer; McGary uses top-quality electronic components, circuit design, and point-to-point wiring. This is an all-new design, versus the SA-1, and McGary notes, is an all-vacuum tube design (not a hybrid) with increased power output of 80 Watts RMS per channel and self bias using KT88/KT90/KT120 tubes (no bias adjustments required) with a 20 Hz – 20 kHz bandwidth.

The retro, red- and white-paint scheme, open-chassis hulk of a tube amp features user-adjustable (global) negative feedback control (1.5 dB-9dB range), and triode or ultralinear output mode of operation. The SA-2 can be configured in the 80 wpc, stereo mode, or switched into mono operation (monoblock) amp for power up to 160 watts (if you want to have more zip with two amps).

In light of all the new Class D and hybrid designs in Hi-Fi amplification, its nice to see companies like McGary carrying forth the classic tube amp design that sounds so sweet. It definitely deserves an Everything Audio Stellar Sound Award.

Connections include unbalanced (single-ended) gold sputtered RCA inputs located in front (with a diamond shaped mini-cover to conceal the connections) and Neutrik balanced XLR inputs in the rear

There are Magic Eye vacuum tube displays for left and right output, level meters with intensity display control (high-off-low). Spec wise, the signal-to-noise ratio is greater than 85 dB (unweighted/unfiltered); referenced to full-rated output power at 1 kHz). There are speaker taps for 4, 8, and 16 ohm speaker output, via gold-plated binding posts.

Top-mounted controls for SA-2. Adjustable feedback is novel.

The SA-2 structure is one solid piece with American-made, 13-Gauge steel enclosure, powder coated throughout (red lollypop color base with satin black top plate), ceramic tube sockets (attached directly to the chassis), point-to-point, hand-soldered with 16-gauge, Teflon insulated, silver-plated copper wire. All electrical connections feature Cardas silver solder — with star grounding.

According to Mike McGary, the color options for the SA 2 amplifier enclosure, top cover plate and the transformers can be customized for an additional cost just in case Red is not your thing.

McGary recommends premium tubes for the SA-2. Tubes that McGary recommends and installed as standard include, (NOS) GE (Joint Army Navy or ‘JAN’) 6BQ7A input tubes, (NOS) GE 6SN7GTB driver tubes, and (New) Russian Genalex (Gold Lion) KT88 output tubes.

Set up

The biggest effort required by the McGary SA-2 was lifting the 60 pound brute onto a floor-placed, rack shelf. Oh my arms and hips love the heft of all those tube transformers and heavy build chassis! I used the McGary SA-2 in various configurations. MartinLogan Expression speakers, MartinLogan Motion 20i small tower speakers, Pass Labs SR-2 three-way’s, a pair of Westlake Tower 5s, and Amphion Argon 1 mini-monitors. Preamps included a Rogue Audio RP-7/RP-9, the ultra-transparent Benchmark LA4, and a vintage Coda High-Current bipolar output preamp.

Taps For 4, and 8 Ohms speakers; XLR input jacks are on the rear.

Sources included Oppo BDP-205, Benchmark DAC3 HGC D/A Converter, Mytek Brooklyn Plus D/A and Mytek Manhattan II D/A converters. Turntables included Clear Audio Emotion with Benz MC cartridge and an outboard solid state preamp. All analog and digital connections connections were made via WireWorldcables and Essential Sound Products Essence II power cords and power strip.

The biggest set up adjustment for the SA-2 is setting the user-adjustable feedback. The amount of gain is variable; feedback gain can lower distortion and improve power band response. Almost all amps have some mount of negative feedback, but the general consensus among audiophiles is less is better, especially for sold-state amplifiers.

Mr. McGary Audio himself, Mike McGary, testing audio tubes.

In my set up and initial listening sessions with the McGary, I found the feedback control adjustment at about 3 o’clock made the amp sound its best, but it was not always audible on different kinds of music. Solo classical guitar sounded great with moderate feedback, or no feedback at all. The audibility also is complicated by whether you are in triode or ultra linear. The ultralinear mode sounds better, up to a point, with more feedback, and I think the bass is better defined on heavily processed Pop music than the triode mode. So audibility is in the ear of the beholder and variables of operation mode (ultralinear/triode) speakers, room, type of music and preference all figure in to it. The variable feedback and triode/ultra linear mode make it infinitely tweakable in its sound. It's up to the user to decide what is best for him.

The audition

First up were the MartinLogan Expressions electrostatic speakers. As I expected, the McGary amp delivered Hi-Res audio was glorious with this set up. The Tom Jung-recorded Warren Bernhardt DSD tracks, via the Apple Macbook Pro, Audirvana Plus player software and the ultra revealing Benchmark DAC-3 HGC DAC and LA4 solid state preamp, were expansive, smooth, yet with a transient energy that was tight and quick. Cymbal splashes on the title cut had a very realistic sheen and wonderful presence, while the directional cues of the drum stick moving on the snare was nailed perfectly. That cut always impresses in the demos.

On the Hi-Res DSD/SACD reissue of Tsuyoshi Yamamoto Trio - Midnight Sugar, the McGary SA-2 really cast the spotlight on this Japanese ode-to-American Jazz. The title cut, with its slow, simmering bass line and brilliant, transient-infused piano and drum kit, revealed an open, dynamic, sonic smoothness dressed up in an easy-to-listen vibe.

Of course, the Benchmark PA4 preamp delivers the Benchmark DAC3’s decoding of this wonderful-sounding album to the McGary amp so it could do its job. As previously mentioned, I liked the 3 o’clock position on the SA-2 feedback and the ultralinear mode; triode mode on this recording seemed less dynamic to me. The studio liveness of the this album’s tracks is more obvious, to me in the ultralinear mode.

On the Hi-Res DSD/SACD reissue of Tsuyoshi Yamamoto Trio - Midnight Sugar (mid-1974 Three Blind Mice label-, the McGary SA-2 really cast the spotlight on this Japanese ode-to=American Jazz. The title cut, with its slow, simmering bass line and brilliant, transient-infused piano and drum kit, revealed an open, dynamic, sonic smoothness dressed up in an easy-to-listen-to vibe. The amp’s delivery of this album, as delivered by the upstream components — the always-willing Oppo BDP-205 and the revealing Benchmark LA4 pre — never wandered into harsh territory that I have heard through other amplifiers.

The 2019 24-bit remix/remaster of The Beatles — Abbey Road LP also sounded aces. The increased openness of the remixed/remastered “Hear Comes The Sun” — with an increased breadth of the acoustic guitar and the luscious chorus – was absolutely gorgeous through the McGary SA-2.

On Classical, I played the DSD remaster of The Beethoven Overtures— George Szell and The Cleveland Orchestra. On the three Beethoven Lenore Overtures and The Fidelio Overture (Op. 72), the Beethoven signature is paced perfectly and the SA-2 delivers the rich string textures of the CO, always brilliantly handled by the legendary Mr. Szell. Stereo imaging is spacious, yet the up-close nature of the recording reveals quite a bit of nuance, which the the SA-2 relays oh so well. Szell’s recordings of the 1950s and 1960s seemed to capture more detail than many other analog orchestral recordings of the day.

I played numerous Pop tracks, including a recent DSD release of Dire Straits 1978 self-titled debut and and Communiqué, my favorite DS albums. Using the Rogue Audio RP-9 and the McGary amp, along with the Mytek Manhattan II DAC and Westlake Tower 5 speakers. the remaster’s energetic, well-engineered tracks were reference in their presentation.

McGary uses premium parts throughout this impressive sounding amp.

Fewer tracks in the mix process allows the individual dynamics to shine, and shine they do. Six-Blade Knife and Sultan of Swing crackle with energy with Mr. Knophler’s Fender Stratocatser, fingerpicked-riffs, blazing rhythm, as well as the ace drumming from Pick Withers and others in the Dire Strait supporting cast. I love the drum cymbals through the McGary.

The 2019 24-bit remix/remaster of The Beatles — Abbey Road LP also sounded aces through the McGary, via the Clear Audio Emotion and Benz MC cartridge , the Westlake Tower 5's and a pair of Amphion Argon 1 a made in Europe, 5-inch/1-inch speaker. Both Westlake Tower 5’s an the bookshelf-sized Argons kicked out lots of sonic detail from SA-2. The increased openness of the remixed/remastered “Hear Comes The Sun” — with an increased breadth of the acoustic guitar and the luscious chorus – was absolutely gorgeous through the McGary SA-2.

I switched over to a set of 2012 Pass Labs SR-2 three ways, which sound great in rooms that are bright, such as hardwood floors or other reflective surfaces, such as windows, counters, etc. I placed the system in my upstairs hardwood floor living room (Whew! Had to lug the 70-pound SA-2 and Pass speakers up the stairs from my typical dungeon basement listening room).

Playing music from Frank Sinatra— The Reprise Years, the synergy between the SA-2 and Pass speakers was well synchronized. Mr. Sinatra’s later-year vocal resonance, pitch and phrasing, combined with the incredible Big Band horn and percussion dynamics, was ear candy through the Rogue RP9 and McGary amp. The brass section bite was dynamic, but oh so smooth!

BTW, for those who thought the 30-watt SA-1 didn’t have enough oomph with harder-to-drive speakers and big rooms, the SA-2 takes care of that. Through all the various speakers that I tried — loud Classical orchestral music, Rock, Big Band — I could not strain these amps. The 95 dB plus was all I could stand, but no audible clipping. Just clean as the proverbial sonic whistle.

It’s a keeper!

I had zero issues with the McGary SA-2. A tube protection cage might be nice. And I prefer all my cable connections on the rear, but those are little niggles that have nothing to with how good the amp sounds. The feedback control can make an audible difference — if you crank it up, but my tastes tended to be of the more conservative approach — a little feedback goes along way in the listening. I did not turn it off or overly crank it up.

I did swap in a set of original Svetlana 6550s from the 1990s, that I have been hoarding, just to compare the tubes. I then tried some J and J KT88’s as well as the stock tubes. The sound was similar among all the sampled tubes, and the bass stayed tight and the noise low. Shows you that a good design goes a long way; even with different tubes, the SA-2 always shines.

The verdict

The nearly $8,000 price tag for an audio amplifier is not small change to spend, but the McGary SA-2 is a hand-made, USA-engineered and built, using premium parts and tubes. I think its price is not out of line for a premium, high-power, USA-made tube amp. With a top notch preamp (the Rogue RP Series is highly recommended if you are into tube pre’s), speakers, good source player and well-recorded music, the McGary SA-2 is aces. In light of all the new Class D and hybrid designs in Hi-Fi amplification, its nice to see companies like McGary carrying forth the classic tube amp design that sounds so sweet. It definitely deserves an Everything Audio Stellar Sound Award.

“High-End Speaker Ensemble Is Impressive Purveyor
Of Premium Multichannel Music and Movie Soundtracks”

Brevis...

Price: $11,769(system)

Likes: High-dollar sound

at a reasonable ensemble price

Dislikes: Hefty center channel

Wow Factor: Believe it!

Info: Atlantic Technology

by John Gatski

I have been a fan of Atlantic technology speakers since the mid 1990s. Great value/ performance from subwoofers, mains and surrounds. In fact, the best-sounding soundbar I ever tested was an Atlantic unit that I reviewed in 2012. With better materials and focused design techniques, Atlantic Technology has kept up, and even exceeded, today’s transducer performance benchmarks.

The Atlantic Technology premium system, assembled for this review showcase, includes a L/C/R, surround and subwoofer speaker system that reveals all the nuance, dimensions and extended bass that modern pre-pro/receiver, amplifiers (via advanced resolution soundtracks) are capable of delivering. When you listen to a speaker ensemble like the AT’s, you immediately know you are in a different class.

Atlantic Technology 8600eLR

The models:
Atlantic 8600eLR
The anchor of this reviewed system is Atlantic’s newest tower, the flagship 8600eLR, retail priced at $2,855 each. Whether you are critically listening to two-channel music, or enjoying surround-sound movies, with the 8600eLR’s you’ll appreciate the speaker’s ability to deliver the explosive dynamics of the latest Hollywood blockbuster or the subtle detail in a classic recording.
With the design of the 8600eLR, Atlantic Technology implemented a new driver technology in an all-new configuration, which is claimed to “deliver its superb performance in a wide variety of acoustic settings.”

Overall, as an ensemble of speakers for your high-end quality home theater or multichannel Hi-Res music listening, you can’t go wrong with this system. They should match up to most any amplifier, Class A, A/B or a good Class D and give you what you crave (or should crave): accurate, dynamic and uncolored loudspeaker sound.

This all-new, sealed box speaker design features internally braced, non-resonant, MDF cabinets and house seven state-of-the art, Atlantic Technology drivers configured in a D’Appolito/M-T-M array; the compliment includes four 8-inch fiberglass woofers, two 5.25-inch fiberglass mid-drivers, and an advanced 1-inch aluminum/magnesium dome tweeter, placed in a powerful, neodymium magnet structure. The midrange and tweeter drivers are internally isolated within a separate, airtight sub-enclosure.

The crossover consists of a 4th-order Butterworth, asymmetrical, time-aligned, Linkwitz-Riley crossover. Specifications include a 91-dB sensitivity with power handling of up to 300 watts per speaker. Although the specs say the speaker has a low bass response of 50 Hz, I did a quick measurement and found the bass nearly flat to 35 Hz in my home cinema room. AT says their measurements have a tighter tolerance than most speakers’ stated specs plus/minus 2 dB). The bass extension reaches under 40 Hz, which enables its satisfactory home cinema and music-listening deep bass capability.

As I found, the Atlantic 8600eLR is equally adept at music and movie soundtracks. In bigger rooms, they cast a sonic impression that is immediate, present and accurate. The cabinet measures 51.7-inches tall x 11.4-inches wide and the speaker weighs in at 108 pounds — manageable by one person who does not mind pushing heavy boxes.

Atlantic Technology 8600eC

The models:
Atlantic 8600eC Center

This speaker, priced at $2,300, is a big one — a massive center channel to place on a stand. Its drivers are similar to the LR’s, but with smaller-size bass drivers (2 x 6.5-inch fiberglass woofers) and cabinet, also a sealed box design. The 8600eC employs the D’Appolito M-T-M array for better dialog intelligibility. This speaker measures 37.6 inches long x 13.7-inches front-to-back x 14.5 inches wide; the weight was a whopping 91 pounds and took two people to hoist onto the stand behind the Vizio LCD. Whew!

As with the 8600eLR, the 8600eC’s sonic character is top class — with a solid anchor of the channel’s focused dialog, bass and sound cues that complete the steering of multichannel audio. There is a fullness that completely fills up the middle acoustic space; there are no gaps in coverage from this center channel, and it casts its impression far out of the near field, which is good for bigger rooms.
Being that they essentially have the same driver arrangement, both the 8600eLR and 8600eC have similar crossover and sensitivity ratings: crossover frequency, 450Hz, 3kHz; 91 dB and 93 dB sensitivity. Nominal load rating is 6 ohms. Recommended amplifier power: 25 - 300 Watts RMS.

Atlantic Technology 8200e-SR

The models:
Atlantic 8200e-SR Surround

These surrounds can be configured for dipole or bipole (switch selectable), depending on desired set up. The two-sided surround speaker sports 5.25-inch woofers and 1-inch dome tweeters on each angled side of the baffle. They are finished in a beautiful satin black lacquer. Optional pedestal stands are also available at $400 per pair. For added convenience, the surround speakers can be hung on the wall with the supplied integrated keyhole bracket.

Like the L/R and the Center speakers, Atlantic Technology conservatively rates the speaker response: 80 to 20 kHz, plus or minus 2 dB. Other specs include a 3 kHz crossover. They are 15 inches wide x 10.8 inches tall x 7.5 inches deep, and weigh in at 20 pounds each. Grills are removable. Combo plug/spade jacks are on the back.

With my RTA, I easily got 60 Hertz (within 2.5 dB) on their back of the room stands. The 8200eSR, timbre wise, blended perfectly with the 8600eLR and C speakers, offering a lush, expansive rear surround field with lots of heights and width sonic cues from movies, as well as the ambience of music soundtracks. Hi-Res surround music was superb with these doing the surround duty. 8200eSR MSRP $1,760 per pair. Optional pedestals $770 pair. (Package price $2,400)

Atlantic Technology SBT-500 Subwoofer

The models:

SBT-500 Subwoofer

The Atlantic SBT-500 subwoofer, at $1,999, is an attractive, power-house (500w Class-D amp power), accurate, compact subwoofer that has plenty of oomph, even with the small tandem of 10-inch bass drivers.

Dialed in for clean performance and high SPL, the quick response SBT-500 is rated to 23 Hz, within 3 dB, and 27 Hz at a max SPL of 107 dB. At 107 dB, I measured 25 Hz with a subwoofer test tones and an RTA, which is impressive performance for such a small box just shy of 19 inches wide and front-to-back distance. SBT-500’s weight is an easy to manage 66 pounds.
The side firing woofers are covered by removable grills. The back panel sports a number of features including:
•Volume control. Sets the subwoofer’s overall output to match the sound level with the rest of the audio system;
•Continuous adjustable 40 Hz to 140 Hz, 24dB per octave low pass crossover. The steep 24-dB-per-octave slope allows for much better blending with the other speakers, while making the woofer less localizable;
•Low pass/bypass switch. The low pass setting sets the upper frequency limit of the subwoofer with the sub’s adjustable crossover control. A bypass setting is for processors and receivers with their own crossovers and low-pass outputs.
•EQ switch. The max SPL position provides stronger overall output with restricted deep bass output. The max range position provides deeper bass extension with restricted maximum overall output.
•Absolute phase invert switch. This switches between normal or inverted phase to allow better acoustic matching and blending with satellite speaker systems. This switch also allows you to compensate for unusual room acoustics that occur when the woofer is physically separated from the main speakers by a significant distance.
•Line in/XLR inputs. Connect mono or stereo signals to line or XLR inputs for better rejection of hum and noise over longer cable runs for more flexible sub placement in larger rooms.
•Main power/automatic standby. The three-position power switch (on/off/standby) gives users operational flexibility. Automatic standby senses a signal presence to turn the subwoofer on. It automatically turns the SBT500 back to standby after 10 minutes of inactivity.
Editor’s Note: (The Atlantic Technology SBT-1000 sports two 12’s in a bigger cabinet with twice the power at $750 bucks more. Its performance is a bit more extended (20 Hz extension, 23 Hz at Max SPL).

The set up
With the assistance of a strong helper, I unboxed the speakers and mounted the center channel on a Raxxcess pro speaker stand. Wow, this baby is huge. The 8600eLR towers were spaced about 12 ft. apart with a slight tow-in. I left the grills on, though they looked great with the grills off as well. The SBT-500 subwoofer was mounted near the center with side grills off. I bypassed the subwoofer crossover and used the pre/pro or receiver’s 80 Hz setting.
The rear channels were mounted behind me on adjustable stands and switched them to the dipole mode. I set up the system with an RTA and routed the signals through an AudioControl M9 pre/pro for test ones to verify levels. The pre-pro delay parameters per speaker were also set according to the distance from the listening point.

Listening to (and watching) the Blu-ray DTS Master HD lossless soundtrack of Adele - Live At The Royal Albert Hall, I immediately heard the incredible vocal clarity and its proper location in the mix, as well as an enveloping sense of backing vocals and a healthy spread of the band instruments. The rear channel’s pumped out the Hall’s ambiance cues, applause and well-steered sound cues from the venue that made it very natural, not gimmicky.

I utilized a number of different components for the multichannel review: the high-end Audio Control M9 preamp/processor, an older AudioControl AVR-4 receiver, Marantz SR-7012 receiver, Marantz AV-8802A preamp/processor, three Mytek Digital Manhattan+ Class D amplifiers, and an old Conrad-Johnson multichannel amp from the late 1990s.
I sampled stereo Hi-Res music via a Benchmark HPA4 preamp/HP amp with resistor attenuator, Benchmark DAC3-HGC D/A and Benchmark ABH2 amplifier (one of the quietest analog amplifiers ever measured). I also tried other stereo DACs in the system, including the iFi iDSD D/A, Mytek Manhattan II and a TEAC UD-503.
Interconnects included Wireworldspeaker (Eclipse) and interconnect cables (Eclipse). HDMI interlink was courtesy of Essence Electrostatic fiber optics line. Power products came from Essential Sound Product’s Essence Pro II power strip and power cords.
After the measurements, I did a sampling of numerous Hi-Res surround music and BD movies. Right off the bat, I was pretty impressed with the timber accuracy and balance of these speakers. The center channel really anchors the front. Surround cues and effects with front-to-back and L-to-R pans showed the speakers ability to convey theater-like spatiality. These are not budget speakers trying to overachieve. These are serious speakers.

The audition
Having worked with Hi-Res music since its1990s inception (multichannel PCM, lossless PCM and DSD), I first listened to the AudioControl M9 pre/pro, the Oppo BDP-205 and the Mytek Class D amps combo sampling the highest quality Hi-Res music I had on hand: multichannel and stereo.
First up was the state-of-the art, multichannel DTS Master HD lossless soundtrack of Adele - Live At The Royal Albert Hall from a few years ago. This recording recreates the live feel of this famous venue with studio-caliber sonics for lead and backing vocals — and the ace band she used for this series of shows. Through the Atlantic system, I immediately heard the incredible vocal clarity and its proper location in the mix, as well as an enveloping sense of backing vocals and a healthy spread of the band instruments. The rear channel’s pumped out the Hall’s ambiance cues, applause and well-steered sound cues from the venue that made it very natural, not gimmicky.

The AT speakers shined via the AudioControl M9 pre/pro

And the speakers showcased the AC M9 and Mytek amps’ conveyance of width and space on the subtle detail of each song’s performances. For example, the audience sing back to Adele on the hit Someone Like You sounded like I was there. And not one area of the spectrum was inaccurate. No extra brightness, fatness or diminished tonality could be heard. These speakers are tight, fast dynamic with nary a hint of excess color. Thanks to the Atlantic confab, I heard the music in its essence. Bass was musically deep and dynamic; no fat bottom here.
Next I played AXI Records Live Albert Lee and Friends Blu-ray in 24/96 PCM surround. Man, the live feel of this BD is just so immersive. With Lee’s masterful guitar licks and the full dynamic range of a live performance via the band, this recording shows you how good a multichannel in Hi-Res is. Drop it down into stereo and 80 percent of the immersion is gone. The Atlantic’s made this BD a pleasure to sample.
Another premium multichannel performance came from the Chris Botti In Boston Blue-ray with the trumpeter’s crack band/orchestra and numerous guest stars. The Hi-Res sound track, like Adele, showcased the Atlantic speaker ensemble precision, ability to properly place the instruments in the front mix and the relay of the back channel ambiance.
The standout cut, in my opinion, is his duet with Sting on the venerable Police nugget, “Message in the Bottle.” The 8600eC really focuses Sting’s course vocals and Botti’s biting, yet reassuring trumpet tone.

"I demo’d about 20 surround Hi-Res discs in all, and the conclusion was always positive when listening through the Atlantic's. BTW, I cant say enough about the SBT-500 subwoofer, its pair of 10's were dead on in handling music-caliber bass, such as the deep reach of a kick drum, organ solo or an electric/acoustic bass."

I also played a number of surround SACD’s through the system via the Marantz 8802A pre pro and its direct decoding of DSD multichannel (the M9 does not decode direct DSD). The Mytek Class D amps stayed in the equation. One of my favorite surround Hi-Res studio recordings is the old DMP label’s Warren Bernhardt — So Real, engineered by digital recording ace Tom Jung some years back. This jazzy album which features guitar, piano, bass and drums was specifically recorded to show the listener how immersive multichannel is. The DSD 2.8 MHz 5.1 recording projects a sense of space that is just incredible! The percussion has so much space and air you can imagine the drum kit sitting in front of you.
Thanks to this master recording and the Atlantic speaker ensemble, the recording was presented just as effectively as I have heard it done on speakers totaling $60,000. Piano and drums are amply spaced with a wonderful, clarity in the keyboard notes. The Steinway grand’s upper-register keys just percolate in the melody on several tracks.

Atlantic SBT500 SW is versatile for room setup

In the title cut “So Real,” the multi-channel spread of the drum stick rotating on the snare is ear opening. Like the snare is right next me. Brushed cymbals have that hair-to metal percussive sheen, but no unwanted hardness or bite.
I demo’d about 20 surround Hi-Res discs in all, and the conclusion was always positive when listening through the Atlantics.' BTW, I cant say enough about the SBT-500 subwoofer, its pair of 10's were dead on in handling music-caliber bass, such as the deep reach of a kick drum, organ solo or an electric/acoustic bass. The compact size does not mean small bass; it relays the bass the system reproduces. The small drivers are quite effective in delivering tight, high-SPL drum kit hits and bass guitar — without mid-bass fatness.

In the home cinema
From my numerous listening sessions with the Atlantic system during multichannel Hi-Res music playback, I knew that movie soundtracks would be just as impressive. I played Blu-rays in the 5.1 and 7.1 (with extra surround speakers in the rear and found the Atlantic’s penchant for dynamic, airy presentation perfect for any kind of movie. Effects-laden sci-fi, block buster musicals, dialog-heavy dramas. You name it. The Atlantic 8600e/8200e/SBT-500 could deal with it.
Cinema-wise, the SBT-500 kept up with the low-bass effects of cinema soundtracks quite well. It could not create the in-room, sub 20-Hz bass extension of my Paradigm Sub 15 Pro, but I only noticed the extra sub 20 Hz room vibration difference when actively comparing the two subs A-B. The upgrade AT SBT-1000 would likely give you more 20 Hz bass impression than the ‘500, but I was fine with the little brother. It is so dynamic and quick.
I started with an old animated BD from 10 years ago. Bolt, which has a fantastic soundtrack of special effects and music. The opening 10-minute sequences of chase scenes — with music soundtrack, panning and steering motion sound effects, and deep subwoofer snippets.

Incredible soundtrack from LOTR Extended Ed. BD

The Atlantic ensemble handled it all with wide expansive presentation and the tight bass that the SBT-500 transmitted. This is first-class sound that sounds better than many theaters I have watched movies in. It helped that the Mytek Manhattan Class D amplifiers delivered precise detail, and linear bass with plenty of dynamic wallop. Don’t let their half-rack size fool you; these are big performance amplifiers in the world of Class D. The Atlantic’s happily obliged.
I also tackled the unabridged Lord Of The Rings Trilogy Blu-ray set with the expansive DTS Master HD multichannel soundtrack. These three films are beautifully shot, and the audio is an incredible workout for a home theater system. The hundreds of tracks of sound effects used for the mixes are as good as you will ever hear, and the Atlantic speaker do them proud. Smooth, clear, centered dialog with secondary vocals in their precise locations in the L-R and surround channels. A vast array of sound effects indicating motion, water flowing, implements of war such as bows and arrows, catapults, monsters, etc. Bass effects are deep and powerful, as well as subtle and restrained when necessary.
I have watched this movie on more expensive speakers, but that does not they sound better than the Atlantic’s. These speakers are not mid fi; they are offer upper-echelon sound for less money!
I watched at least 30 movies with this system, including lossy Dolby Digital soundtrack DVDs. Though not quite as dynamic as lossless BD soundtracks, they still sounded terrific with the Atlantic System. Watching the blockbuster Troy (with Brad Pitt) I soon found myself not thinking that I was listening to a lossy soundtrack. Dynamics, sound localization and pulsing bass were quite immersive.
I made a few equipment changes along with the way including the aforementioned switch to Marantz AV-8002A pre/pro, and powering the Atlantic’s with a receiver, the Audio Control AVR 4, which is still one of the best sounding receivers ever made (quality Wolfson D/A section). All the pre/pros, the receivers and amps performed well with the Atlantic system. No component made the speakers sound substandard.

24-bit music via the ultra-accurate Benchmark DAC3

Two channel buffs rejoice
For audiophile listening, I used the 8600eLR front speakers for stereo-only listening tying it to a Benchmark DAC 3-HGC, Benchmark's HPA4’s line stage preamp and Pass Labs X350.8 high-end MOSFET amplifier. As expected, the 8600’eLR's were audiophile all the way with the Pass and Benchmark components, a very transparent setup that gave me hours of listening pleasure. Even my old CDs sounded great. For example, the original early 1980s Donald Fagen - The Night Fly album allowed me to refamiliarize myself with all those tracks from a slightly bright, but quite-good, early digital recording. Recent hi-res stereo recordings, such as the recent The Beatles - Abbey Road remaster, remix, revealed live-like dynamics and subtlety that your 1970's stereo system could not imagine. And the LR Atlantic's shined that musical light better than many $10,000 grand speakers I have heard.

Power, finesse from Mytek Brooklyn Amp+

I had no complaints with these Chinese-made, high-caliber Atlantic systems that included the 8600eLR towers, the 8600eC center and 8200eSR. The attractive esthetic, build-quality and their ability to explore the subtle edges of Hi-Res music and film soundtracks, in my theater/listening room, clearly revealed a high-end speaker system at a very reasonable package price. Throw in a capable SBT-500 subwoofer that is clean and dynamic (but takes little space), and you got yourself a winning speaker ensemble.
The towers anchor the L and the R for multichannel or stereo use. They are an accurate, dynamic, revealing pair of speakers, showcasing dynamic, properly transmitted nuance and strong, clean bass — all extending deep into the room. I heard no anomalies in stereo or home theater playback. They are my kind of speakers; they just kind of get out of the way.

Keep it centered
Whether on Hi-Res surround music, or a deep, richly detailed, multichannel movie soundtrack, the massively large center channel 8600eC was always the anchor — with well-defined, accurate, sibilance-free vocal timbre and superb bass balance. Its seven-driver, sealed-box design reflects a speaker that is structurally solid and resonance free, and its size and driver complement enable the 8600eC to project deep into a mid-size to large-size room. This speaker performs like it is three times its price!
The 8200eSR surrounds are well matched to the 8600eLR, and C speakers. The bi-pole/dipole switch allows extra custom tailoring options for room optimization and its driver array showcases a neutral timber that can handle aggressive sound effects, or it can relay subtle, lower-level detail to softly enhance the ambiance. Heavy, but well constructed.

A tandem-driver sub
The compact, but a cut above most small subs, SBT-500subwoofer is so much better than its size or price belies. It does not plumb the sub20 Hz region as flat as other more costly and larger subs, but the sheer linearity to 25 Hz and its ability to be clean is refreshing. If I bought this system, I would seriously consider two of these subs. They are that good.

The verdict
Needless to say, Atlantic Technology lives up to my impression of great value/great performance. Only in this case, their flagship ensemble also is a great deal, considering the quality. The 8600eLR towers, by themselves are excellent music speakers with a clear, musically satisfying accurate character that works for two channel or multichannel. The center channel, bigger than most in this class, projects a full anchored middle with clear dialog and an openness to other parts of the audio spectrum. Its large size moves the sound further out in a big room, and it maintains its fullness at the greater distance of a big room.
Overall, as an ensemble of speakers for high-end home theater or multichannel Hi-Res music listening, you can’t go wrong with this system. They should match up to most any amplifier, Class A, A/B or a good Class D and give you what you crave (or should crave): accurate, dynamic and uncolored loudspeaker sound. For sure, Atlantic is a winner of the Everything Audio NetworkStellar Sound Award and a candidate for the Everything Audio Network Multichannel Speaker Ensemble Of The Year award.

EAN Founder 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 Sound-On-Sound, 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 email:everything.audio@verizon.net

Essence Adds Pure DSD Playback
To HDACC II-4K HDMI DAC
New DAC Price: $599;
(Older Units Updated Via Firmware)

www.essenceelectrostatic.com

“When EAN reviewed the HDACC II-4K HDMI v2.0b DAC a few years ago, we loved everything about its ability to decode hi-res PCM audio from its HDMI input (as well as TOSlink and Coax). And it offered upsampling, headphone amp, analog input, 4K picture quality, etc. It was a bargain at $600! However, its only flaw was no decoding of pure DSD from SACDs and DSD files (via player USB stick inputs). The DAC could convert the DSD to PCM, but no discrete DSD playback was possible. The HDACC II-4K had the DSD decode capability built into the DAC chip; it just was not turned on.
We wondered aloud to Essence whether the factory could activate the DSD-over-HDMI decoding feature, Eventually, low and behold, the pure DSD decode process was finally turned on in a firmware update. So now, audiophiles with SACD/DSD player capability, via the HDMI, can connect their player to the HDACC II-4K and hear the pure stereo DSD from its outputs. It can, in fact, play the higher 5.6 MHz sample rate DSD that is often used in audio files. If you have a cheap universal player with SACD capability (2.8 MHz) and HDMI (Sony, Samsung Pioneer, etc.). the HDACC II-4K decode is quite a treat for your ears over an internal player’s decoding. Even against the mighty Oppo BDP-205 internal converters, the Essence holds its own — just using a cheap HDMI SACD capable player. The current version sells for $600; older ones can be upgraded for free by getting following instructions via the Essence website. The HDACC II-4K is one of the few DACs that has HDMI connectivity, and adding the SACD/DSD player decoding compatibility is just icing on the cake.”

EAN Founder 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 Sound-On-Sound, 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 email: jmgatski@gmail.com

You Pick It !
A Rogue Audio Tube Combo:
RP-5 or RP-7 Tube Preamp
With Rogue Audio Stereo 100 Amp
www.rogueaudio.com

“For 25 years, Rogue Audio has delivered classy, true-to-the music, tube designs in various configurations. The Stereo 100 and either of the aforementioned RP series preamps are a perfect pairing if you want the classic smoothness of tubes with a dose of tight, dynamic and a consistent airy sonic presentation.

The Stereo 100 is a one terrific amplifier, utilizing KT120 output tubes, ultra-linear or triode operation, adjustable bias and a complement of quality audiophile grade of parts that is a pure treat for your favorite speakers. And it ain’t that expensive, considering the premium performance. You combine it with either the RP-7 12AU7-based preamp ($4,995), or the slightly more Euphonic RP-9’s 6H30P tube-based design $7,995) (both pre’s with plenty of connection options), and you get the gorgeous, but gentle accuracy that Rogue tube products are all about.

Whether its vinyl, digital media, streaming, or a great Classical station from your favorite tuner, the audio listening experience is always satisfying with a pairing of Rogue’s.”

—John Gatski

Mytek Empire Preamp/DAC/Streamer

by Paul Elliott

Back at the Renaissance Schaumburg Hotel & Convention Center. Schaumburg, IL., Axpona 2022 showed that all is right in the world of home audio again. After two years of anxiety and shut-ins due to the pandemic, business as usual is back. I still feel more credit needs to be given to Gary Gill for taking a big risk and starting it all off with a successful Capital Audiofest (DC) last November, and Florida Expo fast on CAF’s heels in February.
Certainly, Axpona is now this country’s biggest show, and its problems are now far in the distant past. With reported 138 rooms and big crowds all three days. An unsubstantiated rumor was that attendance was in the multiple thousands (I heard 6500). About a week before the show I thought about how to even begin to cover this monstrous show. I was going to work smart and preselect the rooms to cover and get preliminary info. The energy Friday morning was exploding early and all caution was tossed out and I just dove in.

Linear Tube Audio

To get the ball rolling, I visited familiar ground. Linear Tube Audio had two rooms (plus a Marketplace booth with Headgear). In their upper tier room was the MicroZOTL preamp, ZOTL Ultralinear + power amp, the very fine Lampizator Baltic 3 DAC, and the DeVore Super Nine Loudspeakers. This always is the controversial part of reviewing a show’s room. What we hear/notice first is the speaker. Are the speakers transparent enough to hear deeper into the system and is the system transparent enough to get out of the way of the music?

LTA Devore Loudspeakers

All of LTA’s products are based on designs and licensed by David Bering. The MicroZOTL pre has five inputs,tape loop, and remote control. It is black hole silent, and completely neutral. The ZOLT Ultralinear + poweramp is 20 watts/ch and is stereo/mono switchable. The DeVore Super Nine speaker A 2.5-way design incorporating the revolutionary .75-inch textile tweeter first debuted in the gibbon X and two long-throw 7-inch paper cone woofers in a compact but wide bandwidth, very high-performance package, with a frequency response of 28Hz-30kHz, sensitivity of 91dB/W/M, and an impedance of 8 Ohms, 6 Ohms minimum.
This was a very fine-sounding system. I am very familiar with the LTA sound; I use the microZTL preamp in my reference system. This is my first hearing of the Devore Super Nines. I never questioned what I was hearing. I felt comfortable that I was getting into the recording just fine. This was a $31k to $32k system. Sounding quite good!

Spatial Audio X4 Premium

Stepping down in price point a bit but in no way less satisfying was the LTA room with the Spatial Audio X4 Premium. New to me was the front end (Streaming Qobuz direct via a MAC book) with the Holo Audio/Kitsume HiFi May DAC (top-of-the-line KTE). This R2R DAC is extreme in high tech and resolution. It will support DSD1024 native and PCM 1.536MHz output! Theoretically, it can do DSD2048; the PCM 3.072 MHz capability, however, was untested at this time.

Holo Audio/Kitsume HiFi May DAC

The May is a DUAL mono DAC. So there is a dedicated DAC module for Left Channel and a dedicated Dac module for Right Channel. Also, each channel is individually powered by its dedicated Otype FLATWIRE transformer found in all three models. The company has found have found, after careful testing, this new transformer type outperforms any transformers they ever tested. Near zero leakage, improved dynamics, and overall spectacular performance. They are handmade for this DAC specifically and deliver the world-class performance you would expect.
Kitsume has worked hard to reduce the common click noise with all DACs when switching from DSD to PCM. This sound click sound has been reduced significantly with a special circuit design. The May DAC has the new and exclusive USB Enhanced module (L2 and KTE ONLY) which has our FPGA with the new Titanis 2.0 and custom firmware to improve USB Eye Pattern and reduce latency to near zero as well as reduce jitter to very low levels. The USB module has completely new code written to optimize performance and reduce latency significantly. Low-frequency performance (-40db) is also improved. The “enhanced” USB Xmos module is twice as powerful/capable as the one that is used in other models.

The Kitsume is a powerhouse of a DAC. The sound was extremely clean and free from any sharp edges.

New improved power supply circuit with high-performance multi-stage regulation circuit using Rubycon ZLH caps, Panasonic FC, Vishay Caps, or L2/KTE models with our exclusive HoloAudio Branded Caps (KTE model unique custom proprietary caps to replace Vishay caps). They are no longer using a common LVDS chipset and are now using a custom four-way circuit that isolates each line which further improves sound quality. As an example, the MCLK is isolated from the data line and this improves jitter spec. Also, there are TWO i2s ports in the May DAC. Each one can be individually configured pinouts to support all i2s products on the market. This is a powerhouse of a DAC. The sound was extremely clean free from any sharp edges.
Control was by the ZOTL Ultralinear + Integrated amp with very similar specs as micrZOTL pre and the Ultralinear + amp but in one chassis. The Spatial Audio X4 Premium is a true dipole, open baffle speaker floor stander with a sensitivity of 93db and frequency response of 32Hz to 20kHz.

Rega Audio
When an audiophile gets into a conversation with Mr. Average Joe about spending the equivalent of a Honda CRV for a bunch of boxes that play music and trying to explain the importance of getting emotion out of a recorded performance, the conversation usually goes into the opposite directions with both sides walking away and scratching their respective heads. I think about this a lot while walking into and out of these rooms with big price tags.

Budget-friendly Rega System 1

Then I happened into a room like the Rega System 1 room. Here is a $2,115 analog system that presents a nice sound stage. This system is certainly a gateway into our realm, or the perfect office or dorm room system for a kid going to college. This is an all-in-one analog solution. Rega System One has been around for a couple of years now and is designed to be simple to set up, easy to use, and deliver a true analog experience straight out of the box.
The Rega System One consists of the Planar 1 turntable, the io amplifier, Kyte loudspeakers, and all the cables you need. The io amplifier uses the same amplifier stage as the legendary Brio amplifier now re-designed to run at 30 W per channel into 8 Ω. The io features two line-level inputs, a moving magnet phono stage, and a high-quality headphone output socket offering plenty of connectivity options to expand your system.

The Planar 1 turntable is a "Plug and Play" design that utilizes the RB110 tonearm, with pre-set bias and a factory-fitted Carbon cartridge. Set-up is possible in under 30 seconds; just add the counterweight and set the VTF.

The Planar 1 turntable is a "Plug and Play" design that utilizes the RB110 tonearm, with pre-set bias and a factory-fitted Carbon cartridge. Set-up is possible in under 30 seconds; just add the counterweight and set the VTF.
The Kytelound speakers are not going to give you any big bottom-end bass but the sound was just super at this price point. It was refreshing to experience a system like this at a major audio show that has systems approaching the stratosphere.

Sota Turntables
Since we are talking about analog and as a long-time owner of a SOTA turntable (since 1985, with a complete upgrade a few years ago), I looked forward to seeing what is new with this well-established company. Sota Turntables started in 1979 manufacturing Audiophile Grade Turntables in Oakland California. Soon Sota moved to Chicago and became SOTA Sales and Service, operated by Kirk and Donna Bodinet until 2018.

SOTA Nova

In January 2018, Donna partnered with Christan Griego of Griego Sound Inventions with a full machine shop and wood shop to continue the next generation of State Of The Art Turntables. Christan Griego joined SOTA as the new President/Director of Development and Marketing effective January 2, 2018. Since this collaboration, SOTA is evolving into a high-tech company bringing a whole playbook of innovations and a complete range of new products to market.
The complete line encompasses a pathway from the very affordable Urban Series with turntables less than $2k to the Statement Series; the Cosmos starting at $9350, and the Millennia Eclipse base price of $10,750. The top tier tables are suspended tables with three models with vacuum hold-down systems.

SOTA with Modwright and KEF

I bought my Star Sapphire Vacuum table in 1985 because I lived in an old house with a weak wood floor. When I walked across the room the arm would jump out of the groove and skip across the LP. The suspended table solved the problem. I can bang on the chassis with no effect while the LP is playing. The Urban series at a lower price point are ridged tables but still offer a high degree of musicality.
What Christen and Product Specialist Ken Wolff brought to Axpona was just a marvelous sounding system. The Nova vacuum and the Cosmos vacuum tables with the Modwright integrated amp, Doshio phono preamp, and, new to me, the KEF Reference 3 Meta speakers.
The ModWright KWH 225i is an integrated, a hybrid design with a tube front end and solid-state 225w/ch into 8 ohms power amp. The KEF Reference 3 Meta speakers are a three-way bass-reflex design with a published response of 43 Hz to 35 kHz and a sensitivity of 86 db.
What I got my juices going was the Nova vacuum with the Schroeder arm and the very fine Grado AEON3 low output moving iron cartridge. This is a knockout system. The KEFs were just superb. The detail and dynamics were just out there. Ken played a recording that just made me sit up and listen. "Memoirs Of A Geisha Original Soundtrack,"composed and conducted by John Williams. This system disappeared completely and I melted into the music.

Elac Loudspeakers
The ELAC room was another most pleasant surprise. Only knowing about ELAC’s good value, low price point bookshelf speakers, it was a revelation to see that they have their toes dipped into the high-end spectrum, both in electronics and speakers. This system at around $30k is an extreme value with the sound that far exceeded its price point.

ELAC Concentro S 507

The Concentro S 507 Floorstander speaker, with four 6.25-inch woofers (massive motors with the 3-inch voice coil and vented pole piece). A slightly larger, low-midrange driver and then the upper-midrange and coincident-mounted, folded-foil membrane JET tweeter, System response is a claimed response of 24 Hz to 50 kHz at 88 dB efficiency. The rest of the system was the Alchemy DDP-2 Preamp, a pair of Alchemy DPA-w amps, and Discovery DS-S101 Roon Server. This system had no problem in producing solid bass, a very believable midrange, and smooth, silky highs. A real treat. I walked out with a new respect for the ELAC company.

Mytek's Axpona Room

Mytek Audio
The Mytek Audio room is showing that this company just keeps pushing and moving forward. I saw the Empire Streamer DAC at the Florida Show. It was just set up on a side table as a static display and the room was more about the HeadPhone arena. In 2020, Mytek announced the Empire, but the Pandemic and the production and shipping problems have delayed production until now. So at Axpona, the Empire was front and center, with two Empire Monoblocks and a pair of Wilson Audio Shasha DAW speakers. We are now in the stratosphere,; my guess around $120k. The sound is what one would expect. Total effortless presentation. Like a 20-year-old track star at rest. The power is there, ready for whatever is next. Just absolutely there, as if you were three rows back at your favorite venue.

"It is amazing how Mytek was able to put so much in one approximately 17-inch wide chassis. This is a cost no object, dual-mono, all balanced audio path, in both analog and DAC circuits. Three oversized linear power supplies for digital, for the left and right DAC/analog circuitry.

It is amazing how Mytek was able to put so much in one approximately 17-inch wide chassis. This is a cost no object, dual-mono, all balanced audio path, in both analog and DAC circuits. Three oversized linear power supplies for digital, for the left and right DAC/analog circuitry, each using shielded low noise toroidal transformer with automatic adjustment to 100-240VAC.
There are nine analog preamplifier inputs, including state-of-the-art M/M, M/C nickel transformer-based phono pre, 2 analog pre-balanced inputs, each input with adjustable input sensitivity, independently selectable outputs, both balanced and RCA. The digital DAC inputs include Streamer, SPDIF, Optical, USB2, HDMI (2-channel), and Roon End Point, all w PCM DSD and MQA. The storage includes an internal 8TB SSD. Accepts all external USB3, USBC, and Network drives. The built-in Mytek os DAC/preamplifier platform allows for future functional upgrades and new DSP features of the DAC/Preamplifier to be released throughout the life of the product. Even the two Intel I7 CPU's can be upgraded as needed. This is the highest-tech Swiss Army Knife audio system I have seen.

Transparency is Benchmark's forte

Benchmark/Aretai
Back down to earth for the last room I am reporting on, the Benchmark Media/Aretai room. The Aretai Contra 100s, from Latvia is a sealed 2.5-way, with a horn-loaded tweeter and dual 6-inch drivers. The front 6-inch driver is recessed in a waveguide. Since Aretai is calling this a 2.5 way the rear-firing 6-inch driver must be a slightly different slope. The frequency response is from 30 Hz to 25 kHz.
The source is an Aurender N200 music server/streamer. This is an upgraded replacement of A100 with Intel N4200 Quad CPU, stereo AKM 4490 Full-Decode MQA DAC with PCM up to 768kHz/32bit and DSD up to 256. It has single-ended Analog Outputs and a USB Digital Output with a full-color 6.9″ 1280 x 480 Wide IPS LCD. There is a 2 x 2.5" Tray for SSD or HDD for user-installed storage. The N200 increased SSD Cache to 240GB and a system memory of 8GB. There are 2 Isolated Gigabit LAN Ports and SPDIF Optical x 1 and Coaxial x 1 Digital Inputs. The power supply is linear with Super Capacitor-based UPS.

The key to the LA4's extreme accuracy in gain/attenuation is its precision, custom implementation of the NEC-relay potentiometer that allows the the true audio detail to be front and center; no matter what the level.

The Benchmark LA4 Line and two Benchmark AHB2 power amps in bridge mode supplied the drive for the Aretai speakers. The LA4 is an extreme wide bandwidth (from 0.01 Hz to over 500 kHz) low distortion/extremely low-noise control unit with two balanced stereo inputs and two unbalanced stereo inputs. The line amplifier provides one balanced stereo output, one balanced mono sum, and one unbalanced stereo output. The key to its extreme accuracy in gain/attenuation is its precision, custom implementation of the NEC-relay potentiometer that allows the the true audio detail to be front and center; no matter what the level.

The Benchmark AHB2 amp is power house capable of producing 100 watts/ch in stereo mode to 480 watts in bridged mode. The AHB2 uses the new and revolutionary THX-patented AAA™ technology to virtually eliminate all forms of distortion. This technology uses feed-forward error correction to eliminate the distortion that is normally produced by the output stage.
I was very impressed with what I heard. The Aretai Founder, Janis Irbe was on hand and told me that this is “the little speaker that could” I agree and say that “it really does!!!” This was a very fine-sounding system. The surprising weight behind the music with the full range on tap, no glare, or nasties to be found anywhere. Just super. Aretai is working on a US distributor so if you are interested contact Aretai.

Axpona quite a success

So there you have it. I touched on highlights of Axpona 2022. High-end is a niche market, and there was no evidence of smallness here. Our industry had a great showing. It is alive and better than ever. I did not touch on the continuous
seminars taking place in the Marketplace, which was also busy with heavy commerce of vinyl and widget procurement. There was a ballroom full of Headgear and two nightly concerts. I did say big and busy, didn’t I?

Editor's Note: Paul Elliott is along-time audiophile who started his audio obsession by building Heathkits in the early 1960s. He has been a key player in the growth of the Capital Audiofest, the video/photo ace for the DC Hi-Fi Group and he runs his own web site, www.myaudiophrenia.com

EAN Founder 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 Sound-On-Sound, 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 email: jmgatski@gmail.com

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You Pick It !
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www.rogueaudio.com

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With Rogue Audio Stereo 100 Amp
www.rogueaudio.com