Australian HiFi - September 2020

LEGENDARY SOUND. SINCE 1946.
9001
YOUR MUSIC AND MOVIES COULD

SOUND BETTER ... JUST SAYIN.
LEGENDARY DETAILED HIGH FIDELITY
Connect virtually anything, including your DYNAMIC KLIPSCH SOUND BI-AMPLIFIED SOUND
TV and enjoy awesome Klipsch sound.
Experience real Hi-Fi with The Fives.
CONNECTS TO VIRTUALLY
ANY SOURCE MID-CENTURY
klipsch.com.au MODERN DESIGN
EISA AWARDS 2020
ALL THE WINNERS INSIDE
TRULY LUXURIOUS
‘PHONES, BUT BE
CAREFUL WHEN
LISTENING!
A NEW STANDARD
In turntable performance!
X³³È0‫ד׏ד‬³0¨Áٜ!Á‫׎א׎א‬
REVIEWED REVIEWED
B&W 702 MICHI

SIGNATURE P5 & S5
Are they worth the Two award-winners
A$9.99
additional $1,600? reviewed & tested!

DESIGNED IN THE UK
HDA RANGE
SA30
CLASS G INTELLIGENT INTEGRATED AMPLIFIER
7KH6$LVDQLQWHOOLJHQWLQWHJUDWHGDPSOLȴHUR΍HULQJDQ
LPSUHVVLYH:RI&ODVV*DPSOLȴFDWLRQIRULPSHFFDEOHVRXQG
FRQWURODQGHɝFLHQF\)HDWXULQJ'LUDF/LYHWKHVWDWHRIWKHDUW
URRPFRUUHFWLRQWHFKQRORJ\DQGHTXLSSHGZLWKH$5&VXSSRUWWKH
6$GHOLYHUVXQSDUDOOHOHGSHUIRUPDQFHDQGVRXQGTXDOLW\WKDWȇV
RSWLPL]HGWRLWVVXUURXQGLQJV
Ph: 02 9561 0799 | www.advanceaudio.com.au

Icons Never Go
EDITOR’S LEAD IN
GETTING INTO THE

AUDIO BUSINESS Out Of Style
T
here was a time when I thought about going into the
hi-fi manufacturing business. After all, I’d been in
the pro audio business, building amplifiers, foldback
speakers, guitar cabs and PA systems before I’d entered
the publishing game. But somehow, I just couldn’t
seem to extricate myself from hi-fi magazines and newspapers, not
least because there was always another deadline looming and I just When the Heresy speaker came onto the
couldn’t seem to see my way clear to telling a publisher and/or an
editor that we would soon be parting ways.
Actually, truth be told, I did really nothing not because of dead-
scene, it further distinguished Klipsch as
lines, but because I was born both a procrastinator and with a highly
risk-adverse personality. And while being risk-adverse has often
The Great American Speaker Company
worked against me in my life, both personally and professionally, it
has at least prevented me from being sued for defamation, or worse... and the go-to for premium home audio.
though I have come close on a couple of occasions. But all of this
didn’t stop me thinking about it though. Since it’s inception in 1957, we’ve never
At least one famous hi-fi company was started by a teacher and
a freelance writer. But then that company was H.H. Scott, and who’s
even heard of that company now? There are also many other famous
stopped making this legendary speaker.
companies that have been founded in garages or back-yard sheds. I
am thinking of Infinity Systems and Mark Levinson, but I’m sure you
can think of more. There are also, of course, some very well-known
hi-fi brands that started off in back rooms or garages and are still
operating out of those self-same accommodations.
In retrospect I am very glad that I did not go into hi-fi manufac-
turing, because I am now absolutely certain any business I started
would have failed spectacularly, not least for the reason that having a
successful business is less about having a product that people want to
buy than it is about, well, good management.
It’s pretty easy to be “in business” if that business is just a sideline
to having a real job (which, by the way, described my ‘pro audio
business’ perfectly), or a weekend hobby that happens to make some
money on the side, but if you’re planning on earning a living from a
business you need a lot more than a product people want to buy and
good managerial skills.
For a start, you’ll need money. Lots of it. Having sufficient capital
is a prerequisite for any start-up. As is a preparedness to lose it all.
Which mostly means having to take out a huge loan, getting inves-
tors on board, or having a rich uncle. But as well as all this, you also
have to be a creative accountant, an excellent salesperson, possess
outstanding copywriting and computer skills, be a great ‘people
person’ and not least, have the optimism of an indefatigable entre-
preneur, plus the ability to uncomplainingly and efficiently turn in
sixteen-hour days and seven-day weeks, for as many years as it takes.
I could go into quite a bit more detail about all this, but I really
don’t need to, because someone else has done it for me. If you really
are thinking of getting into the hi-fi manufacturing business, I rec-
ommend that your first step should be to read an outstanding book
written by Jason Stoddard and Mike Moffat called “Schiit Happened,
The Story of the World’s Most Improbable Start-Up,” which tells the
completely true and utterly compelling story of how the pair founded
Schiit Audio. And if, after reading this book, you still feel like starting SATIN BLACK ASH, AMERICAN WALNUT, NATURAL CHERRY, AND DISTRESSED OAK FINISHES
out in the hi-fi business, don’t email me for advice, because you’re
already beyond help. greg.borrowman@futurenet.com
klipsch.com.au
Sept/Oct 2020. Issue 515. (‫ږ‬V‫ڙ‬ol 51 No ‫ڙ‬5‫)ږ‬
Future Publishing Australia

PO Box 1077 Mount Street,
CONTENTS AUSTRALIAN HI-FI MAGAZINE – ISSUE 515 – SEPTEMBER/OCTOBER 2020
North Sydney, NSW 2059

Tel: 02 9955 2677 Fax: 02 9955 2688
Email: aushiˡ۬futurenet.com
Web: ɯɯɯ.avhub.com.au
Subscription enquiries:
Please call CRM on (02) 8227 6486
Editorial
Editor: Greg Borrowman
greg.borroɯman۬futurenet.com
Art Director: Kristian Hagen
kristian.hagen۬futurenet.com
Contributors
Jutta Grkinich, Stephen Dawson, Steve Holding,
Jez Ford, Tom Waters, Peter Xeni, Paul Boon,
Rod Easdown, Matt Doria, Bill Huff-Fanning,
Brad Cunningham, Steven Rowland, Paul Boon,
Angus Bradley, kailu Chen, Peter Giles.
Photography
All copyrights and trademarks
are recognised and respected.
Advertising
Advertising Director: Jim Preece
Ǵim.preece۬futurenet.com
Advertising Manager: Lewis Preece
lewis.preece۬futurenet.com
Advertising Liaison: Diane Preece
diane.preece۬futurenet.com
Management
Managing Director: Neville Daniels
Printed by IVE GROUP
Distributed in Australia and NZ by Ovato ovato.com.au
ISSN 0159-0030
We are committed to only using magazine paper which is derived from
responsibly managed, certiˡed forestry and chlorine-free manufacture. The
paper in this magazine was sourced and produced from sustainable managed EQUIPMENT REVIEWS
forests, conforming to strict environmental and socioeconomic standards. The
manufacturing paper mill holds full FSC (Forest Stewardship Council) or PEFC
certiˡcation and accreditation
All contents ۰ 2020 Future Publishing Australia or published under licence. All 16 YAMAHA GT-5000 TURNTABLE ðŢēðŗŠŭƛƧěǌðČƧŗǍƧļěƛðŠěČŁƓČƯŁƧƓǍðƛŁƧƛ
rights reserved. No part of this magazine may be used, stored, transmitted or
reproduced in any way without the prior written permission of the publisher. Yamaha’s unique GT-5000 turntable sets a new ƐƓěŠŁƯŠ͘ƐƓŁČěēƛŁċŗŁŢĴƛ̻®ŭǇļðƧͣƛēŁĳĳěƓěŢƧ̼
Future Publishing Limited (company number 2008885) is registered in England
and Wales. Registered ofˡce: ªuay House, The Ambury, Bath BA1 1UA. All standard for turntable performance, as well as
information contained in this publication is for information only and is, as far as
we are aware, correct at the time of going to press. Future cannot accept any a new standard for excellence of construction. 76 B&W 702 SIGNATURE
responsibility for errors or inaccuracies in such information. çou are advised to
contact manufacturers and retailers directly with regard to the prices of products/ Reviewer Andrew Frazer was smitten. LOUDSPEAKERS
services referred to in this publication. This magazine is fully independent and not
afˡliated in any way with the companies mentioned herein.
iěĴěŢēðƓǍƓŁƧŁƛļŗŭƯēƛƐěðŔěƓēŭǍěŢŭǇěƓƛϽ
Information contained in this magazine, whether in editorial matter or in feature 24 FOCAL ARCHE DAC & ÚŁŗŔŁŢƛļðƛƓěŗěðƛěēð͢®ŁĴŢðƧƯƓěͣǆěƓƛŁŭŢŭĳŁƧƛ
HEADPHONE AMPLIFIER
articles or in advertisements or otherwise, including in particular, but not limited
to, technical information, is published on the basis that neither the publisher, ðǇðƓē͘ǇŁŢŢŁŢĴ˞˗˙®˙ēěƛŁĴŢƧļðƧļðƛðƯŢŁƒƯě
its employees and/or agents, nor its distributors accepts or assumes liability or
responsibility for any loss or damage resulting from the incorrectness of such 'ěƛŁĴŢěēƛƐěČŁǠČðŗŗǍƧŭēƓŁǆěHŭČðŗļěðēƐļŭŢěƛ̶ ðŢēěǌČŗƯƛŁǆě'ðƧƯŔIŗŭƛƛǠŢŁƛļ̶ðŢēðŢƯƐĴƓðēěē
ƧļŁƛĳðŠŭƯƛHƓěŢČļČŭŠƐðŢǍͣƛŢěǇƓČļěǇŁŗŗ crossover. We listened to them, and then tested
information. The submission of material and/or products to us signiˡes that you
have read, acknowledged and accepted all the abovementioned conditions.
If you submit material to us you warrant that you own the material and/or have the ǇŭƓŔěƒƯðŗŗǍǇěŗŗǇŁƧļðŢǍċƓðŢēŭƓŠŭēěŗ̶ them, and here’s what we discovered...
necessary rights/permissions to supply the material and you automatically grant
Future and its licensees a licence to publish your submission in whole or in part in ƧļðŢŔƛƧŭðƛǇŁƧČļðċŗěŭƯƧƐƯƧČŁƓČƯŁƧƓǍ̻
any/all issues and/or editions of publications, in any format published worldwide
and on associated websites, social media channels and associated products. Any 90 MAGICO ASUB
material and/or equipment you submit to us is sent at your own risk and, although
every care is taken, neither Future nor its employees, agents, subcontractors or 30 MICHI P5 PREAMPLIFIER & DSP POWERED SUBWOOFER
licensees shall be liable for loss or damage. We assume all unsolicited material
is for publication unless otherwise stated, and reserve the right to edit, amend,
S5 POWER AMPLIFIER ƐļěŢŭŠěŢðŗŗǍĴŭŭē͘ƛŭƯŢēŁŢĴ̶ļŁĴļ͘
and/or adapt all submissions. The submission of material and/or products or
equipment to us signiˡes that you have read, acknowledged and accepted all the
àŭƯŠðǍŢŭƧļðǆěļěðƓēŭĳƧļěċƓðŢē̶ċƯƧǍŭƯ performance subwoofer that has the best and
abovementioned conditions.
ŔŢŭǇƧļěČŭŠƐðŢǍƧļðƧŠðŔěƛŁƧ̶ðŢēǇļŁČļ ŠŭƛƧǡěǌŁċŗěƓŭŭŠ͘ƧƯŢŁŢĴðŢēƛƐěðŔěƓ͘ŠðƧČļŁŢĴ
Equipment reviews are based on laboratory measurements and controlled
listening tests and should be construed as applying to the speciˡc sample tested٪ ƓěČěŢƧŗǍǇŭŢðČŭǆěƧěē1V®ðǇðƓēĳŭƓƧļŁƛƐƓě́ ČŁƓČƯŁƧƓǍǇěͣǆěěǆěƓƛěěŢ̸
neither Future nor its employees, agents, subcontractors or licensees assume
responsibility for product performance, quality or applicability. ƐŭǇěƓƐðŁƓ̻¦ěðēŭƯƓƓěǆŁěǇðŢēǍŭƯͣŗŗŔŢŭǇ
Privacy statement ěǌðČƧŗǍǇļǍŁƧēŁē̸ 96 AUDIO-TECHNICA
ATH-AWKT HEADPHONES
If you provide information about yourself this will be used to provide you with
products or services you have requested. We may supply your information to
contractors to enable us to do this. Future Publishing Australia will also use your
information to inform you of other publications, products, services and events. 40 LUMIN U1 MINI The secret to their great sound might be due
Future Publishing Australia may also give your information to organisations that
are providing special prizes or offers and are clearly associated with the Reader NETWORK MUSIC PLAYER to the use of exotic Kokutan to construct the
Offer. Unless you tell us not to, Future Publishing Australia may give your
information to other organisations that may use it to inform you of other products,
Lumin has released its lowest-priced Network ear-cups... or it could be AT’s unique Double Air
services or events. If you would like to gain access to the information Future
Publishing Australia holds about you, please contact us.
sƯƛŁČ£ŗðǍěƓěǆěƓ̶ǍěƧŁƧƛļðƓěƛƧļěƛðŠěƛŭĳƧǇðƓě 'ðŠƐŁŢĴ®ǍƛƧěŠ̻eěǗHŭƓēŁŢǆěƛƧŁĴðƧěē̻̻̻
Future plc is a public Chief executive Zillah Byng-Thorne

company quoted on the Non-executive chairman Richard Huntingford
London Stock Exchange Chief ˡnancial ofˡcer Penny Ladkin-Brand
(symbol: FUTR)
www.futureplc.com Tel +44 (0)1225 442 244
4 Australian Hi-Fi
54 THE HIGH END
Everything you play through these
FEATURES speakers will sound richer, more
musical, more exciting and, in a way,
6 SOUND BITES almost larger than life, yet at the same
ƛƧěŗŗϽgěƓŢϽHƯƧƯƓð®1˙˗˗ƐƓěŠŁƯŠƐŭƓƧðċŗě̶ time not, because they also deliver
Contrast Audio Lens speakers, Audia Flight FLS9 true-to-life sound, albeit without
entry-level integrated, Electrocompaniet monitor-like accuracy.
1 V˟˗'ŠƐ́' ́®ƧƓěðŠěƓ̶®ƯŠŁŔŭ®ŭŢĴċŁƓē
s ́ssČðƓƧƓŁēĴě̶gŗŁƐƛČļ»˜VVÚŁƓěŗěƛƛ
Headphones, Hana Umami Red Cartridge, Magico
DEPARTMENTS
M9 Loudspeakers, Richter Harlequin S6 Speakers,
Velodyne Microvee MkII subwoofer, Holbo
Air-Bearing Turntable, Metronome Le Player 3 Audio News 6
Transport, and Perreaux’s colourful 155ix and Behind The Scenes 98
˙˜˜ŁǌŁŢƧěĴƓðƧěēðŠƐŗŁǠěƓƛ̻ Dealer Directory 105
Editor’s Lead-In 3
43 LEN WALLIS AUDIO
NEWSLETTER Esoterica 75
Listed as one of the world’s top ten audio stores, Hi-Fi Marketplace 106
Len Wallis Audio has some amazing new brands
High End 90
for sale, and Australian exclusivity for some new,
limited edition models from those brands...plus Mixed Bag 104
bargains and special offers galore! Personal Audio 96
MUSIC
Rock On 103
82 EISA AWARD-WINNERS
SoundSites 19
ANNOUNCED! 102 TOP PICKS
The world-wide Expert Imaging and Sound Each issue, Australian Hi-Fi’s own Matt Doria Subscriptions 4
Association comprises 56 technology magazine reveals the best new Australian music releases. Top Picks 102
ðŢēǇěċƛŁƧěƛĳƓŭŠ˙ˠēŁĳĳěƓěŢƧČŭƯŢƧƓŁěƛ̶ This time around he reviews new albums from
ŁŢČŗƯēŁŢĴƯƛƧƓðŗŁð̶ƛŭƧļŁƛŁƛēěǠŢŁƧěŗǍƧļě Benny Walker, Georgia Marley, In Hearts Wake,
ēěǠŢŁƧŁǆěŗŁƛƧŭĳǇļðƧƛļŭƯŗēċěŭŢǍŭƯƓļŁ͘Ǡ Ocean Alley, Fontaines D.C. and Pink Elephant.
shopping list.
103 ROCK ON OUR FRONT
98 INTERVIEW What a great line-up of new albums! COVER
You have probably heard, owned or lusted after Joe Satriani’s Shapeshifting, Janus Stark’s Angel in Yamaha’s top-line
a component designed by Ole Lund Christensen, the Flames, King Solomon Hicks’ Harlem, Gordon I»͘˜˗˗˗ƧƯƓŢƧðċŗě
ċƯƧƧļŁƛŁƛŗŁŔěŗǍƧļěǠƓƛƧƧŁŠěǍŭƯͣǆěěǆěƓļěðƓē Giltrap’s Woman, Albert Cummings’ Believe and sets a new standard
his name. Ian Kuah interviews this Danish Richard Thompson’s Live at Rock City. for performance
man of mystery... and upsets a few
104 MIXED BAG conventions in
03 EDITOR’S LEAD-IN A round-up of eclectic music that includes turntable design.
Editor Greg Borrowman reveals that he once everything from new rock band Black Swan and àŭƯͣŗŗǠŢēěǆěƓǍƧļŁŢĴ
had a longing to go into the business of ƧļěŁƓǠƓƛƧðŗċƯŠƧŭð˙˗͘ǍěðƓ͘ŭŗēƓě͘ƓěŗěðƛěƧļðƧ you need to know in
ŠðŢƯĳðČƧƯƓŁŢĴļŁ͘ǠěƒƯŁƐŠěŢƧ̶ċƯƧļðƛƛŁŢČě features Eric Clapton and BB King, along with a our expert review on
changed his mind, not least as the result of perfect tour-de-force of an album from a man page 16.
reading a new book on the subject! James Taylor called “a complete virtuoso.”
Australian Hi-Fi 5
ASTELL&KERN | CONTRAST AUDIO
CONTRAST AUDIO LENS

Contrast Audio loudspeakers are now available in Australia for the first time.
All Contrast Audio speakers are hand-made in Kiev, Ukraine, by the Sapega
family, which along with its small team has developed a range of 2-way and
3-way speakers that do not use standard two and three-way crossover net-
works, but instead use just a single capacitor to prevent low frequencies from
reaching the tweeter.
Contrast Audio says that it makes its own drive units “in-house” using both
cast and machined chassis and cones and domes made of natural materials
such as paper, cotton, balsa, and silk. “Only natural materials can provide the
tonal quality the Sapegas demand from their speakers, and when these mate-
rials are used for cones, it enables the drivers to exhibit a very gentle natural
roll-off at their upper frequency extremes so that a low-pass filter is not re-
ASTELL&KERN
quired, in accordance with Contrast Audio’s desire to keep as many electronic
components away from the music signal as possible,” said Anthony Sawyer
A&FUTURA SE200 of GrizzlyWorks, which distributes Contrast Audio in Australia.

The first model to go on-sale in Australia is the two-way, bass-reflex
Astell&Kern has released the second model in its ‘Lens’ loudspeaker which marries a paper-coned bass/midrange driver with a
A&futura line of premium portable audio players, the distinctive solid timber phase plug to a 25mm silk-dome tweeter via a single
SE200. This newest model is most notable and unusual Mundorf capacitor that acts as a first-order high-pass filter. The Lens has an un-
for using DACs from two different manufacturers. usual front baffle design whereby the oversized 25mm thick solid beech front
The Astell&Kern SE200 is equipped with DACs from baffle is decoupled from the cabinet by a cork gasket. The cabinet itself comes
two of the world’s leading DAC manufacturers. It uses standard with a piano gloss finish, but can also be supplied in any standard
two ESS ES9068AS DACs and one AKM AK4499EQ. RAL colour. Different baffle finishes can also be made to special order. The
“This is the first time that two different DACs have reflex port is based on a convergent-divergent geometry invented by Swedish
been used in the one device,” said George Pout- inventor Gustaf de Laval in 1888, that’s now known as a “Laval Nozzle”. It’s
akidis, of BusiSoft, which distributes Astell&Kern in used in rocket engines to accelerate the hot, pressurised gases flowing through
Australia. “It has allowed Astell&Kern to fit the SE200 it, but in the Lens, the Sapegas say it is used to eliminate port noise.
with two different amplifiers to optimise the different “The Contrast Audio Lens has higher-than-average efficiency and portrays
characteristics of the AKM and ESS DACs so users can enormous spatial information with detail, dynamics and a wonderfully natural
select one or the other to provide the sound character- non-fatiguing tone,” said Sawyer. “And although it delivers a truly honest
istics they want, according to the music genre they’re sound, it delivers it tactfully, rather than brutally. The Lens is not only a
playing. They can then customise their sound even refreshingly different loudspeaker, but is also a perfect match for single-ended
further by choosing from a wide variety of different tube amplifiers thanks to its componentry delivering a rated sensitivity of a
output filters.” very high 95dBSPL, a benign 16Ω (optionally 11Ω) impedance, and virtually
Interestingly, battery life varies significantly zero phase shift.”
depending on which DAC you’re using. If you listen Available now, the Contrast Audio Lens speakers sell for $3,700 per pair
via the two ESS DACs, you’ll get 14 hours of playback (RRP), and come with custom satin slip covers and a 12-year transferable war-
before needing to recharge, whereas if you listen ranty. Buyers also have the opportunity to purchase Australian-made stands as
via the single AKM DAC, you’ll only get 10 hours of an option.
playing time. Playback time will, of course, be affected
if you use the SE200’s WiFi and/or Bluetooth options For more information, contact GrizzlyWorks on (04) 0412 1155, email
during playback, as well as by the volume level you use grizzlyworks@outlook.com or visit www.grizzlyworksracks.wixsite.com
and the impedance of your headphones. And, when it
comes to headphones, unlike the SE200, which offered
only unbalanced connections, the SE200 offers both
balanced and unbalanced options. The SE 200 also has
twice the onboard memory of the SE100, at 256GB.
The SE200 supports up to 32bit/384kHz PCM and
DSD256 playback, with an LED on the volume control
changing colour to show not only volume range,
but also the bit-rate of the track that’s playing and
the DAC that’s being used to convert the music from
digital to analogue. Rather than using glass to create
the SE200’s case, Astell&Kern has instead used ceramic
materials which direct light to ‘flow’ around the player.
“The SE200 was created from the thought of how to
express premium value,” said Baek Chang-Hum, di-
rector of Dreamus (formerly iRiver), which is the com-
pany responsible for the design and manufacture of all
Astell&Kern products. Available now, the Astell&Kern
A&futura SE200 retails for $2,999.
For more information, contact BusiSoft

on (03) 9810 2900 or visit www.busisoft.com.au
06 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

CELEBRATING
THE YEAR’S
BEST PRODUCTS
GLOBAL AWARDS 2020-21

visit www.eisa.eu for the winners
EISA is the unique collaboration of 62 member magazines and websites from 29 countries,
specialising in all aspects of consumer electronics from mobile devices, home theatre display and
audio products, photography, hi-fi and in-car entertainment. Now truly international with members in
Australia, India, Canada, the Far East and USA, and still growing, the EISA Awards and official logo are
your guide to the best in global consumer technology!
TESTED BY THE EXPERTS Q WWW.EISA.EU

AUDIA FLIGHT | ELECTROCOMPANIET | SUMIKO
ELECTROCOMPANIET
ECI 80D
Most modern amps don’t even offer one. This new amplifier from
Norwegian manufacturer Electrocompaniet has two!
We’re talking about headphone outputs, of course. Electrocom-
paniet released its budget-priced ECI 80D in January this year, but
underestimated demand and it sold out right around the world.
AUDIA FLIGHT FLS 9 This small Norwegian manufacturer has been able to ramp up its
production quantities so you should now be able to audition an
Famous Italian high-end audio manufacturer Audia Flight has ECI 80D at your nearest retailer, Covid-19 permitting.
released a new, entry-level integrated amplifier, the FLS 9. Despite Despite being an entry-level amplifier, the ECI 80D has both
being entry-level, it’s very high-powered, with Audia Flight rating its a moving-magnet phono input and two-way Bluetooth, so in
power output at 150-watts per channel, both channels driven into addition to streaming music to it from your phone or tablet, you
8Ω and 500-watts per channel when driven into 2Ω loads. can also steam music from it to a pair of Bluetooth headphones.
Audia Flight has trickled-down technology from its more expen- And although it’s a bit shy on line-level analogue inputs (just two
sive amplifiers for use in the FLS9, one being that it uses the same balanced inputs, via gold-plated RCA terminals), it has five digital
fully-balanced preamplifier stage boards as the FLS1. The amplifier’s inputs, though they’re all SPDIF (three optical and two coaxial).
1000-watt shielded toroidal transformers delivers the voltages for As you’d expect from Electrocompaniet, the output stage is
eight separate power supply circuits, with the primary circuit for all-analogue, in the form of a linear Class-A/B amplifier that’s
the 12-device output stage fitted with low-impedance, low-noise rated with a power output of 80-watts per channel into 8Ω and
120,000μF capacitors. 150-watts per channel into 4Ω. The frequency response is claimed
As with most Audia Flight amplifiers, the new FLS9 can be fitted at 1Hz to 150kHz –3dB and the signal-to-noise ratio as 102dB,
with up to two optional plug-in boards if required. Available is a though it’s important to note that this spec is realistically refer-
phono board that adds both moving-magnet and moving-coil in- enced to an output of one watt,
puts, an RCA board that adds two unbalanced line-level inputs, and rather than rated output,
a DAC board that adds an asynchronous USB input (32-bit/768kHz as is stated by most
PCM and DSD 5.6) and five digital inputs (Optical, AES/EBU, other manufactur-
2xSPDIF, and an Audia Flight SACD link). These last accept up to ers. Referenced to
32-bit/192kHz data. A DAC streaming board is currently under rated output, the
development. S/N ratio would
“The new FLS9 maintains the acclaimed Audia Flight tradition be much higher.
of speed, power, driving capability and control ability,” said Boris The two headphone out-
Granovsky, of Absolute HiEnd, which distributes Audia Flight in puts are powered by a dedicated
Australia. “Its high-power, high-current output makes it perfectly headphone amplifier that is rated with
suited for driving low-efficiency, impedance critical loudspeaker an output of 400mW into 16Ω. Our only gripe
systems.” might be that both headphone sockets (one 6.35mm,
Audia Flight specifies the frequency response of the new FLS9 at the other 3.5mm) are rather inconveniently located on the
0.3Hz–500kHz (–3 dB), the THD at less than 0.05% and the S/N ratio rear panel rather than the front. Nothing that can’t be fixed with
at 110dB A-weighted. Damping factor is claimed to be more than an extension lead though.
500. Available now, the Audia Flight FLS9 Integrated Amplifier sells Available now, the newly-available Electrocompaniet ECI 80D
for $10,900 (RRP). Integrated Amplifier/DAC/Streamer sells for $4,999.
For more information, contact Absolute HiEnd on (04) 8877 7999 For more information, contact Audio Dynamics on
or at www.absolutehiend.com (03) 9882 0372 or visit www.audiodynamics.com.au
SUMIKO SONGBIRD whose mechanical parameters will remain within design tolerance
for a longer period of time so the cartridge will perform as designed
The Sumiko Songbird is not only the latest addition to Songbird’s for a considerably longer time than other designs,” says the
Reference Series, it’s also now the company’s lowest-priced ref- company. “The Songbird comes in at a much-needed
erence level cartridge. It seems that Sumiko, which has price-point perfect for launching the part-time
been building phono cartridges in Japan for more audiophile into some serious listening,” said
than forty years, and is renowned for its high- Philip Sawyer, of Synergy Audio Visual, which
priced ‘reference’ models, has decided to build distributes Sumiko in Australia. Sumiko rates the
what, for it, is an ‘entry-level’ reference cartridge. frequency response of the Sumiko Songbird as
What’s more, it’s available in both low output and 12Hz - 40kHz, with channel separation of 30dB
high-output versions at the same price. at 1kHz. The high-output version of the Songbird
Sumiko says the design of the Songbird is largely based has an output of 2.5mV, with Sumiko recommending a load
on its best-selling model, the Blue Point Special, which is impedance of 47kΩ and a load capacitance of 100–200pF. Available
the reason there is no cartridge body. According to Sum- now, the Sumiko Songbird retails for $1,599.
iko, this avoids ‘unwanted external resonance storage.’ Also, whereas
almost all other moving-coil cartridges use butyl suspensions, the For more information, contact Sumiko’s Australian distributor,
Songbird uses synthetic rubber. “This allows us to more tightly Synergy AV, on (03) 9459 7474 or at www.synergyaudio.com
control the hardness and repulsion factor plus to create a suspension

IT’S SIMPLY A MATTER OF TIME
PRECISION AUDIO TIMED BY PURIFI’S REVOLUTIONARY AMPLIFICATION TECHNOLOGY
INTRODUCING THE NEW

NAD MASTERS M33 AMPLIFIER
Precision-timed audio is what the M33’s state-of-the- wireless flexibility (networking with AirPlay 2, and
art amplification technology is all about. Eigentakt™ or Bluetooth with aptX HD), and the ability to add new
‘self-clocking’ technology achieves measured distortion developments later using NAD’s unique MDC modules.
and noise levels near the limits of the most sensitive Control the M33 by app, by remote, or using its
test equipment available. But it’s the music that will spacious colour TFT touchscreen. Use Dirac Live Room
leave you reeling: completely relaxed, flowing and Correction to have the M33 optimise your speakers
natural, with astounding detail and transparency. and your room. However you listen, you will be
The M33 is also smart, moving beyond even the astounded by the power and precision of Eigentakt
M10’s award-winning integration of BluOS streaming working in concert with the many decades of NAD
and multiroom to add more inputs (including HDMI amplifier innovation. The M33 is the modern streaming
and high-quality MM/MC turntable provision), more amplifier without equal.
Proudly distributed by 02 9774 9000 | www.convoy.com.au

KLIPSCH | HANA
TRIO OF KLIPSCH T5 II TRUE HANA UMAMI RED

WIRELESS EARPHONES MC CARTRIDGE
Klipsch has released the second generation of its T5 True Wireless se- The Hana E, S, and M Series moving-coil cartridges, all designed
ries earphones, the T5 II True Wireless, in three different versions. The by famous Japanese cartridge designer Masao Okada, have
major difference is that the standard T5 II version is not dust/water- won accolades and critical acclaim from reviewers and customers
proof and does not come with a carrying case with a built-in battery. worldwide for the highest achievement of sound quality in their
The two other editions, “Sport” and “McLaren”, are dustproof and respective price ranges. Okada-san says that his latest design, the
waterproof (IP67) and come standard with carrying cases, while the Hana Umami Red follows in that tradition but delivers an even-
McLaren version also comes standard with a wireless charging pad. All more satisfying level of audio enjoyment and satisfaction. “The
these new earphones replace the original T5 models and feature new Umami Red moving-coil cartridge combines brilliant materials
and thinner three micron thick 5mm diaphragms which are claimed and classic Japanese techniques with modern audio engineer-
to enhance clarity and improve audio quality ing,” he says. “Ebony wood, rare-earth magnets, a precision-cut
across the frequency spectrum. diamond, high-purity copper wires, Urushi lacquering, and CNC
All three new Klipsch T5 II ear- machined Duralumin are all used in this new model.”
phones are approximately 25 per small- Okada named his newest cartridge ‘Umami’, which is the word
er than the originals and have for the fifth taste category, the other four being salty, sweet, sour,
been moulded to more and bitter, and is usually defined as “a pleasing or delicious flavour
closely mimic the shape on the palette, a synergistic effect resulting in higher taste intensi-
of the ear. Klipsch has ty” because he says: “The synergistic relationship in MC gener-
doubled the number ators between magnet, armature, and coil windings is a critical
of ear tips it supplies, aspect of outstanding cartridge design; and like a signature dish at
so you now get six a Michelin 3-star restaurant, every element and detail working in
pairs rather than three, and concert results in a memorable and emotional experience.”
there’s also an improved The Hana Umami Red body has a multi-layered Urushi lacquer
wireless antenna, which finish that originates from the famous Japanese Makie-artistic
the company claims delivers tradition, a classic and complex procedure that consists of a black
a superior Bluetooth connec- Urushi painted undercoat, followed by an elaborate red-coloura-
tion. The brushed metal storage/ tion process incorporating fine silver powder, pure gold powder,
charging case supplied with the Sport and McLaren versions is slim- and a final lacquer coating with multiple polishing steps.
mer than the one supplied with the older T5 equivalents, is dustproof The stylus of the Hana Umami Red is a Microline-shaped
and waterproof (rated IP67) and contains a moisture-removal system diamond that is attached nude to a solid Boron cantilever. “The
that Klipsch says will remove water or sweat from the earphones Microline shape mimics the shape of the cutter head stylus used to
whenever you put them inside the case. The case has its own batteries, cut all vinyl records,” says Aleksandar Maksimovic, of Audio
which enable you to extend the ‘away from power’ time of the T5 IIs Magic, which distributes Hana cartridges in Australia, “ so it’s this
from 10 hours to 32 hours before both need to be recharged, which shape that offers the most precise fit into the vinyl groove where,
can be managed via USB-C or via a wireless charging pad that comes unlike all other stylus profiles, it can trace even the most delicate
standard with the McLaren model, or is available an optional extra for musical nuances.”
the Sports model. The magnets in the Hana Umami Red are rare earth samarium/
In addition to the ear tips, Klipsch also supplies with the Sport and cobalt types, while the coils are hand-wound from cryogeni-
McLaren versions a pair of memory foam ear tips, and three sizes of cally-treated copper wire onto a classic square plate Permalloy
what it calls “no-budge ear wings” that can be used to ensure a more armature. “This same cryogenic ‘cold annealing’ process at near
secure fit when you’re using the earphones while exercising. “Engi- absolute zero temperature is used to treat many of the compo-
neered from the ground up to deliver powerful performances from nents in the Hana Umami Red,” says Maksimovic. “The cryogenic
the smallest package, the T5 II True Wireless dynamic drivers combine process alters the molecular structure of the materials, producing a
high output, neutral sound and deep bass extension,” said Ralph transformative quality similar to molecular gastronomy, and is in
Grundl, of Qualifi, which distributes Klipsch in Australia. part responsible for the musical richness and intensity you experi-
Klipsch’s free “Connect App” can be used in conjunction with all ence when listening to the Hana Umami Red hand-built moving
three versions of the T5 II to enable equalisation adjustments, battery coil cartridge.”
status monitoring and to control a ‘transparency’ mode that can allow The Hana Umami Red will become available in Australia in
sound from the outside world into your ears in situations where you November. It will retail for $6,200 (RRP).
need to be aware of your environment, such as urban running. The
four microphones built into the T5 II use beamforming techniques For more information, contact Audio Magic on (03) 9489 5122
to enhance voice clarity so that anyone you call will be able to hear or visit www.audiomagic.com.au
your voice clearly, even if you’re in a noisy environment. If you use a
digital assistant, the T5 IIs allow ‘single press’ access.
The Klipsch T5 II True Wireless and True Wireless Sport earphones
are available in three colours—black, white, and green. The “McLaren”
version, which Klipsch created as a result of its partnership with the
McLaren Formula 1 racing team, comes in McLaren’s hallmark Papaya
Orange/Carbon-fibre race livery. Available now, the Klipsch T5 II True
Wireless retails for $400 and the True Wireless Sport for $450. The T5
II True Wireless McLaren Edition earphones retail for $500.
For more information, call QualiFi on (03) 8542 1111

or visit www.qualifi.com.au

MAGICO
MAGICO M9 provided in its own enclosure and requires

a separate external power supply. These
The newest four-way, six-driver mid-bass drivers each have two 120×8mm
floor-standing Magico M9 loudspeaker N48H grade Neodymium ring magnets and
system, designed and built in Califor- 102mm voice coils. Crossover from these
nia by Magico, is claimed to be the first drivers to a single 153mm midrange driver
loudspeaker enclosure to encapsulate an with a 75mm voice coil and N48H grade
aluminium honeycomb core between two Neodymium ring magnets is achieved via
layers of carbon fibre. It also features driv- an internal 24dB-per-octave Linkwitz-Ri-
ers with aluminium honeycomb cores and ley crossover that uses Magico’s elliptical
outer layers of graphene nano-tubes plus symmetry circuitry to preserve maximum
a 28mm tweeter with a diamond-coated frequency bandwidth with minimal inter-
beryllium dome. modulation distortion.
“Magico has used Beryllium tweeter “All the cone drivers in the M9 have
domes for some time now” said Boris underhung voice coils and oversized
Granovsky, of Absolute HiEnd, which Neodymium magnets,” says Granovsky,
distributes Magico in Australia. “But with “and rather than use an array of small
the new M9 the company has taken a Neodymium magnets, Magico has instead
significant step forward by using chemical used uncommonly large Neodymium ring
vapour deposition to coat the M9’s 28mm magnets in combination with a matching
beryllium dome with a layer of diamond. magnet that results in a prodigious flux
The result is high-frequency reproduc- density of up to 1.7 Tesla (17,000 Gauss)
tion of extraordinary accuracy, revealing that’s maintained right across the air gap.
musical details with even greater clarity, so The result is a claimed “distortion-free”
you’ll hear microdynamics of even greater output right up to 120dBSPL across the
subtlety.” frequency range from 18Hz up to 50kHz
All the cone drivers in the M9 use and a claimed sensitivity of 94dBSPL.
eighth-generation ‘Nano-Tec’ cones which Each Magico M9 loudspeaker cabinet
have an aluminium honeycomb core weighs 454kg, plus you have to factor in
that’s sandwiched between two graphene/ the weight of the external crossover, at
carbon-fibre layers. “These cones are 18kg, and the weight of the crossover’s
incredibly lightweight,” says Granovsky, power supply, at 27kg. Each cabinet stands
“but they’re so rigid that if they’re inverted more than two metres high and in order to
and put on the ground, you can run over drive a single pair of Magico M9s you need
them with a car without deforming them.” to use either two stereo power amplifiers or
Three different cone drivers are used on four monaural amplifiers.
each M9. Bass is delivered by two 381mm Available now, the Magico M9 loud-
(15-inch) drivers with 123mm voice speakers sell for $1,270,000 per pair (RRP).
coils, and a linear excursion capability of
±15 mm. These drivers are crossed to a For more information, contact
pair of 280mm mid-bass drivers at such Absolute HiEnd, on (04) 8877 7999
a low frequency (120Hz) that Magico has or at www.absolutehiend.com
had to use an electronic crossover which is
+L(QG&DEOHV0DGHLQ3RODQG
3UHPLXP9DOYH+L)L $XGLRPLFD/DERUDWRU\
5HIHUHQFHFDEOHVIRU\RXUV\VWHP
$XGLRVSDFH$XVWUDOLD3W\/WGZZZDXGLRVSDFHFRPDX
%ULQJKRPHWHVWZHOFRPH
)XOO\UHFRPPHQGHG$XGLRPLFD&DEOHV
6SHFLDOEXQGOHGHDO/LPLWHGRႇHU
8SWRRႇZLWK
$03SXUFKVHG
)URP 5HIHUHQFH%)UHH0/6SHDNHUV
$XGLRVSDFH$XVWUDOLD3W\/WG $9&HQWUH $)XWXUH6KRS 6LPSO\+L)L .&$XGLR

$5RRNV5RDG )LHOG6WUHHW +DQF\$YH :HVWHUQ$XVWUDOLD 6XPPHUKLOO5LVH
1XQDZDGLQJ9,& $GHODLGH6$ 1RUWK5RFNV %XQGRRUD9,&
16: 6DOVH#VLPSO\KL¿FRPDX
VDOHV#DXGLRVSDFHFRPDX
RICHTER AUDIO | VELODYNE
RICHTER
HARLEQUIN S6
Australian-owned Richter Audio has launched its
long-awaited Harlequin S6 loudspeaker, the until-now
missing member of Richter’s Series 6 range. According to
Brian Rodgers, of Richter, the rationale for the design
of the new Harlequin S6 was that it “provides an afforda-
ble floor-standing model between the Merlin S6 and the
Wizard S6 that delivers a level of build and sound quality
well above what the price would suggest.”
The new RIchter Harlequin S6 is fitted with a brand-
new 165mm lightweight coated paper bass/midrange
driver that operates in a bass reflex environment, with
the port venting at the rear of the speaker, where it
can optionally be fitted with an acoustic foam plug to
modify the bass out-
put, according to
speaker position,
room acoustics
and/or just the
owner’s preference
for bass exten-
sion. “The new
driver effectively
minimises cone
VELODYNE MICROVEE MKII
breakup and roll- Velodyne Acoustics has released the first product since being purchased
off resonances,” by its new German owner, Audio Reference. Well, it’s not exactly a “new”
says Dr Martin product, because it’s the MkII version of the Velodyne MicroVee that was first
Gosnell, Richter’s released in 2006, but Velodyne says that despite its MkII designation, this
award-winning version of the MicroVee is “not a re-invention, but an evolution keeping the
designer. “To- strong performance the product was known for and adding some welcome
gether with our enhancements.”
all-new low The MicroVee MkII is still the smallest subwoofer in the current
distortion 25mm line-up, as well as being the smallest subwoofer Velodyne has ever built
neo soft-dome (229×229×244mm), and it still has a 165mm bass driver with 50mm voice
tweeter, which has coil and two 165mm passive radiators, but it now has a new Class-D amplifi-
a resonance well er that is rated with an output of 1,000-watts continuous and is said to have
below 900Hz and lower distortion than the previous model, thanks to a new DSP profile. The
the desired phase new MicroVee MkII also benefits from an upgraded switch-mode power sup-
characteristics, the ply, which Velodyne says “allows better stability, more definition, extended
overall frequen- dynamics and more well-defined bass on the lower-end frequencies.”
cy response of Velodyne says that although listeners will notice a much tighter and
the new cleaner bass delivery, with lots of control and speed, the MicroVee MKII
Harlequin is not meant to shake the earth. “This clever, compact unit is for high-rise
S6 extends apartments and smaller residences where huge amounts of bass extension are
from 31Hz not needed and where loud noise can also cause problems with neighbours,”
to 30kHz said David Hall, of Audio Reference Germany. “It’s made for smaller living
within 3dB.” spaces and for modern homeowners who also do not want a huge box that
To make the most of the higher performance of the new they don’t have room for, or that will compromise their interior design.”
drivers, Gosnell developed a new minimal crossover for As with all Velodyne subwoofers, the MicroVee MkII has anti-clipping
the Harlequin that uses high-quality polypropylene ca- circuitry to prevent distortion caused by amplifier clipping, a “subwoofer
pacitors and both air-cored and ferrite-cored inductors. direct” feature that bypasses the internal crossover so you can use your sys-
Cognisant of the stability concerns of tall, floor-stand- tem’s LFE output, and its DSP is programmed with Velodyne’s “Digital Drive
ing designs, Richter has developed new S6H speaker Control System” algorithm to control the driver’s frequency and distortion
stabilizers that improve sideways and forward cabinet characteristics. Velodyne claims that its DDCS algorithm reduces distortion
stability while at the same time improving the acoustic to 1/6th that of competitive subwoofers. Velodyne rates the MicroVee MkII
performance. with a frequency response of 38Hz to 120Hz ±3dB, which can be modified by
Richter rates the sensitivity of the new Harlequin S6 a low pass control that’s calibrated from 50Hz to 200 Hz and has a crossover
at 88.5dBSPL (2.83V/1m) and the nominal impedance as slope that’s adjustable from 12dB per octave to 48dB per octave.
6Ω. Available right now in a matt black finish for $1,899 Available now, the Velodyne MicroVee MkII retails for $1,699 (RRP).
per pair (RRP) the Harlequin will also soon be available in
a Walnut finish at the same price. Velodyne is distributed in Australia by Oceanic Distribution, which can be
contacted at 1300 556 303 or (02) 9531 1336 or at
For more information contact Richter Audio on www.oceanicdistribution.com
(04) 1886 3309 or at www.richter.com.au

HOLBO
Designed and built by hand in Ljubljana, Slovenia, the Holbo turn-

table is the result of years of research and development by Holbo Au-
dio’s founder, Bostjan Holc. It comes with a separate power supply
for the d.c. motor, plus a very quiet pump that delivers filtered air to
the platter and tonearm. The tonearm has VTA on-the-fly function-
ality and enables precise azimuth adjustment. “The exceptional fit,
finish and design are testament to Bostjan’s obsession for perfection,”
says Sawyer.
The Holbo turntable’s platter has electronic switching between
the two available speeds (33 1/3 and 45 rpm) and exact speed
can be adjusted manually so you can ensure pitch-perfect replay
of orchestral and other works or simply adjust speed so you
can play along with a fixed-pitch instrument. The straight,
linear-tracking arm uses silver and copper Litz wiring, has a
tonearm tube made of aluminium alloy/carbon and has an
effective length of 163mm, an effective vertical mass of 7.5g and
HOLBO AIR-BEARING a total mass of 31.6g.
TURNTABLE TNT Audio said of the Holbo Air Bearing turntable that: “It pro-
duces a wonderfully clean and detailed sound with fabulous instru-
Is the Holbo the best value air-bearing turntable currently on the ment delineation and tone” while HiFi Advice published that: “There
market? “Emphatically yes!” says Anthony Sawyer, of GrizzlyWorks is no beating around the bush: the Holbo air bearing turntable offers a
High Fidelity Audio, which has just been named its first Australian reference-level performance that will be hard to beat.”
distributor. Despite its air-bearing design, Holbos’ Air-Bearing Turntable
The Holbo Air-Bearing Turntable System features both a substantial System is relatively compact, measuring 430×400×150 (WDH) and it
5kg air-bearing belt-driven platter and an air-bearing linear tracking weighs only 12kg. It comes with a two-year warranty and retails for
tonearm. “Both are supported by a microscopically thin cushion of $10,950 (RRP).
air,” says Sawyer. “This has a twofold benefit, the first being excep-
tionally low inertia, while the second is that it effectively decouples For more information, contact GrizzlyWorks High Fidelity Audio on
both components from the plinth, so there is no path for harmful (04) 0412 1155 or email grizzlyworks@outlook.com or visit
vibrations to reach the cartridge.” www.grizzlyworksracks.wixsite.com
REFERENCE 160S
Vacuum Tube Stereo
Power Amplifier
The REF160S belongs in

that category of amplifier
that defines the uppermost
calibre of performance.
– Ken Kessler, Hi-Fi News
synergyaudio.com | 03 9459 7474

METRONOME | PERREAUX
METRONOME LE PLAYER 3 The new Le Player 3 has four digital outputs: coaxial (via RCA),
AES/EBU (via XLR), optical (via Toslink) and I²S (via HDMI). In
Metronome Technologie has added the first pure CD transport to its keeping with its name, there is no analogue output at all. “Le Player
entry-level Classica range. The fact that this famous French compa- 3 was designed to meet the new requirements of audiophiles who
ny is now into its third generation of this particular product line is now mostly use streaming, but still need to listen to their old CDs,
clearly evidenced by the player’s name. Unlike most CD transports, especially when a specific edition or recording can’t be found on
the new Metronome Le Player 3, in addition to delivering SPDIF to streaming platforms,” said Nigel Ng, of Advance Audio, which dis-
its multiple digital outputs, is also able to deliver the same data up- tributes Metronome in Australia. “With this high-end CD transport
sampled to DSD64. And in a rare move, one of those multiple digital music-lovers now have the option to listen to CDs with top sound
outputs is an I²S HDMI output. reproduction quality via their own DAC, using upsampled PCM or
“Our Classica range was missing a pure transport, which was DSD.” Available in both silver and black finishes, Metronome Tech-
widely requested by our customers,” said Jean Marie Clauzel, of nologie’s Le Player 3 CD Transport sells for $7,995.
Metronome. “So my design goal was to give much more added value
than adding a simple digital output to an existing model. For more information, contact Advance Audio Australia
The electronics inside the Le Player 3 are completely new and have on (02) 9561 0799 or visit www.advanceaudio.com.au
been specifically designed for a CD Transport.”
COLOURFUL KIWI headphone amplifier to drive their front-panel headphone socket.
AMPLIFIERS
Both models also have the full gamut of digital inputs, both wired
and wireless, with decoding via an ESS Sabre Pro 9038 384k PCM/
DSD DAC. Remote control is via app (iOS/Android).
New Zealand’s most famous Rugby team may be the All Blacks, but Myriad colour options are available because the amplifiers are
New Zealand’s most famous amplifier manufacturer, Perreaux, is hand-painted. Paul Sammes, Global Sales & Marketing Manager
making its newest integrated amplifiers available in all the colours for Perreaux, says the finish is “to luxury automotive paint stand-
of the rainbow… plus there is also an “All Black” model. ard”, and that Perreaux will paint either amplifier: “in any colour
The two new models are both integrated amplifiers with inte- of the customer’s choice.”
grated DACs. The Perreaux 155iX is rated with a power output of Perreaux was founded in 1974 in Napier, New Zealand by Peter
150-watts continuous into 8Ω, and the Perreaux 255iX is rated at Perreaux and rapidly expanded from a one-man operation into
250-watts continuous per channel into 8Ω. Both models have mul- a multi-million dollar business that in 1987 was exporting Class-A
tiple line-level analogue inputs (five unbalanced, one balanced), preamplifiers and MOSFET integrated and power amplifiers to 17
dual MM/MC phono inputs, and also incorporate the same head- countries. Perreaux was sold to Martin Van Rooyen in 1995, who
phone circuitry that’s used in Perreaux’s renowned SXH2 Class-A moved the company to its current location of Mosgiel on New Zea-
land’s South Island. Two years ago, Van Rooyen sold
the company to electronics engineer Edwin
Nieman, founder of the award-winning
Dunedin-based electronics design
company Kamahi Electronics.
For more information,

contact Perreaux’s Australian
distributor, Sound and Music,
on (03) 9555 8081 or visit
www.sound-music.com

ON TEST
YAMAHA
GT-5000 The chassis itself is 12cm thick, to which silvered platter. The reflection in the black
TURNTABLE you need to add another 4cm to account for

the four support feet, then a further 8cm for
surface of the platter as it rotates is simply
mesmerising.
the height of the tonearm. So, overall, that’s
THE EQUIPMENT
D
a total height of 24cm. And if you use the
on’t be fooled by any Perspex dust-cover, it just gets even higher! As with almost all turntables, some assembly
photographs you might So it’s big, but given the stonkingly good is required, but with the GT-5000 it’s min-
see of it, including looks of the Yamaha GT-5000, you’ll probably imal, and doing it gives you the chance to
the one above. They be wishing Yamaha had made it even bigger! appreciate the insanely high quality of all the
all make the Yamaha It’s finished in high-gloss piano black and, component parts.
GT-5000 look like it’s a given that Yamaha is the world’s leading Once you’ve unboxed it (no small task in
standard-sized turnta- manufacturer of pianos, that means it’s had itself, given the GT-5000’s size and weight, so
ble. It’s not. Take the platter for a start. The plenty of experience with this particular it’s definitely a two-person job) the first thing
platter on most turntables is 30cm in diam- finish, so as you’d imagine, the piano black to do is fit the 2.025kg, 140mm diameter
eter. The platter on the GT-5000 is 35cm in gloss finish on the GT-5000 is absolutely subplatter over the spindle. I’m not too sure
diameter. That’s a big difference. So whereas superb. It’s mirror-like, with not even the what this subplatter is made of… maybe it’s
the chassis of most turntables is around 42cm smallest flaw to be seen in its almost mir- bronze, or it may be brass, but it’s certainly
wide and 32cm deep, that of the GT-5000 is ror-like surface. heavy and it press-fits down over the slightly
around 55cm wide and 40cm deep. The superb piano black finish is made tapered lower section of the spindle so closely
And then there’s the height. Let me tell to look even better because of the contrast that I’d doubt you could fit a single atom
you about the height. between it and the massively thick (35mm) between them.

Y a m a h a G T - 5 0 0 0 Tu r n t a b l e
It was the first of my many insights into them” and a company like Yamaha, which is it’s difficult to accurately move the post up
the stupendously good machining of the obviously using state-of-the-art equipment and down by sub-millimetre increments,
GT-5000. to achieve what I imagine to be sub-micron particularly since it has to be done by hand:
Then it’s time to attach the single, short tolerances. there’s no mechanical adjustment system.
(480mm) flat rubber belt firstly around the You’ll be able to admire the engineering Because of this, I’d recommend buying a
subplatter and then around the alloy drive even if you’re looking at a Yamaha GT-5000 really, really, cheap cartridge with the same
pulley. The drive pulley is very slightly flex- turntable that’s already been assembled. All dimensions as the one you intend to use,
ible, which suggested to me that the motor you have to do is get the platter rotating at along with an after-market head-shell, and
itself is isolastically isolated from the chassis. 33.33 rpm (or 45 rpm, if you prefer) then fitting this while making the adjustment. I’d
As with most vendors, Yamaha supplies white crouch down and get an eye-line across the also recommend doing it while using an LP
cotton gloves with the GT-5000, and you periphery of the platter at a spot on a wall you don’t play so that if there’s any mishap
most certainly should be wearing these when behind. You will immediately see that there’s of some kind, there will be no chance of
absolutely no vertical damaging a stylus or an LP or both, because
motion at all… it will it’s very hard to get micrometer-like precision
VČðŢČŭŢǠēěŢƧŗǍƛƧðƧě be as if the platter were on the arm height when you’re reduced to
ƧļðƧƧļěàðŠðļðI»͘˜˗˗˗ƛěƧƛ
stationary. doing it by hand.
If you do this same If all this seems a bit complex, another
ðŢěǇƛƧðŢēðƓēŁŢƧƯƓŢƧðċŗě check with any other method I thought up would be to work out
turntable, I’m pretty how high the ‘collar’ of the tonearm post
ƐěƓĳŭƓŠðŢČě sure you’ll see a tiny needs to be above the base, then make a
up/down motion as the shim that’s exactly this height and then raise
platter rotates, showing the tonearm post and lower it down on the
that it is not rotating shim, after which you could then tighten the
evenly. The Yamaha hex-head screw. Given the almost unbelieva-
fitting the subplatter and drive belt, to avoid GT-5000’s rotation is dead flat. Amazing! bly high level of engineering expertise that’s
oils from your skin from making the surface And if you look at the edge during rotation, gone into the rest of the turntable, I was rath-
or the belt slippery. using the same eye-line trick (or even a laser, er puzzled that an equal level did not seem
The main silvery alloy platter is unusual, if you want to go high-tech, like I did) you’ll to have been applied to the tonearm height
not simply because it’s so heavy (4.88kg), see there’s no rotational eccentricity either, adjustment methodology.
but also because of its diameter, which I’ve which is even more amazing. Yamaha has gone out on a limb with the
already mentioned, but additionally because The GT-5000 comes with its own custom, design of its tonearm, because it has a shorter
of the unusual semi-circular ‘gutter’ that runs straight arm-tube tonearm already installed, effective length than most other tonearms,
around its periphery. Once you have fitted but you will have to firstly install a cartridge and lacks an offset angle, which means
the platter, a rubber mat virtually press-fits and then adjust the height of the tonearm to that its arc across the grooved area is more
down over the entire surface, thanks to a establish the correct vertical tracking angle pronounced than would be the case if it were
matching ‘gutter’ moulded into it, which can (VTA) for the particular phono cartridge longer. Also there is no anti-skating device fit-
be topped (or not, as you choose) with a final you’re using. You’ll also have to set track- ted. I thought I should ask Yamaha about its
anti-static slip mat. ing force, but this is via the completely rationale for the tonearm length and the lack
Although I don’t normally talk about conventional method of having a threaded of anti-skating, and received a reply from no
disassembly in my reviews, because the only counterweight. Yamaha actually provides two less a personage than Kiyohiko Goto, Chief
time you’d do this is if you’re moving house, counterweights of different mass, which you Engineer at Yamaha Japan’s AV Division.
I just have to mention it in this particular select according to the mass of your particu- Regarding the tracking error he says: “A
review because it highlights the superior lar phono cartridge. short straight arm has excellent tracking
engineering of the GT-5000. Firstly, the fit Tonearm height is adjusted by loosening performance because the inside force is
between the rubber mat and the platter is a hex head screw on the side of the tonearm generated at the point of contact between a
so glove-like that you’ll be hard-pressed to post, after which the post slides up and stylus tip and groove of vinyl and is always
remove it. That’s amazing for a moulded down. I found making this adjustment quite variable with the variate of the music groove.
product. As for removing the main platter tricky, because the tolerances are so fine that In the case of a short straight arm, its null
from the spindle, well it’s so close to the sur-
face of the turntable that you can’t really get
your fingers under it, and the fit around the
spindle is so tight (and gets tighter the longer
you use the turntable) that Yamaha provides
two lifting handles that screw into the platter
in order that it can be removed.
As I hope I’ve made perfectly clear, the
precision of the machining and moulding
on the Yamaha GT-5000 is incredibly good.
You can really see/feel the difference between
turntable manufacturers that just “do it
themselves” using off-the-shelf machinery or
get a local engineering firm to just “do it for
ON TEST
point (= balanced point) is at the middle of

the grooved area (so) the maximum tracking
error is 10 degrees at innermost and outer-
most grooves. The distortion caused by this
small error angle is inaudible because it is
lower than both the tracing distortion and
the residual noise. Furthermore, tracking
error appears as phase shift between the left
and right channels, and even at its maximum
(10 degree) error the phase shift that results
would be the same as caused by a difference
in the distance from the left and right speak-
ers to the listener of only 2mm. This also
does not cause any problem for sound.”
As for the lack of anti-skating, he says: “A
short straight arm does not require anti-skat-
ing because [at maximum error angle] if the
vertical tracking force is 2g, the frictional
coefficient is 0.3, and so the inside force (out-
side force) will be approx. 0.1g. In the case of
a conventional offset arm with a maximum
tracking error of 2 degrees, the inside force
will be approx. 0.02g so the difference of the
max inside force between a short arm and
an offset type will be 0.08g at the maximum,
thus the difference in force is very small.”
“On the other hand, when anti-skating
is employed, because it applies a constant
force it never cancels the inside force which
constantly changes as its follows the music
signal. The constant differences between the
variable inside force at the stylus tip and the
constant force by the anti-skating adversely
affects the cantilever, hence the tracking
performance is not stable. In a short straight
arm the tracking performance following (the) You instead have to use the alignment tool try with a 50Hz mains frequency (Australia
music groove is excellent because the variable Yamaha supplies with the GT-5000. and the UK, for example) or in a country
difference of force between the stylus tip and Yamaha’s alignment tool comes in the where the mains frequency is 60Hz (such as
tonearm (cartridge) is not generated.” form of a black metal disc that slides down the USA or Japan).
Whatever you think of Yamaha’s approach over the spindle and has the necessary As for the strobe light that’s necessary
to tonearm tracking/tracing (and I should cartridge calibration marks scribed in it. This for the strobe card to work, any fluorescent
point out that in the previous paragraphs disc also doubles as a speed calibration de- light will suffice for this purpose, but on
that I have paraphrased a translation of vice, by virtue of the strobe marks inscribed the off-chance that you don’t have one
Kiyohiko Goto’s original Japanese-language on it… though you’d be hard-pressed to handy, Yamaha provides a small strobe light
explanation, so any errors are mine alone), instantly recognise these as strobe markings with the GT-5000. It’s at the end of a piece
the practical result is that you cannot use a because rather than provide them in the form of flexible cable that plugs into a power
conventional Baerwald, Stevenson or Loef- of straight lines, as with most other strobe supply at the back of the turntable.
gren cartridge alignment tool to align your ‘cards’ I’ve ever seen, Yamaha has instead pro- So what does the post at the front of
cartridge in the tonearm. vided the markings in an ‘arrow’ formation. the GT-5000 do if it’s not a strobe post?
I initially thought these arrows were bit of That’s where you adjust the speed of the
a gimmick, but when I compared Yamaha’s platter. This means that you have to hold
strobe with my own (which has straight lines) the strobe light with one hand while you
Yamaha’s strobe was was actually the easier use the other hand to adjust platter speed.
one of the two to use, and also the most ac- I have to say that while this is a perfectly
curate. Yamaha’s strobe lines also look better, practical way to do this, it felt a little ‘odd’
The assembly process but that’s probably by-the-by. and just a bit ‘Heath Robinson’. I wish
gives you the chance to Interestingly, there were only two strobe
rings (one for 33.33 rpm and the other for
Yamaha had thought of another way to
implement this.
appreciate the insanely 45rpm) on the calibration disc, which means Speed change is achieved by pressing the
high quality of all the that Yamaha must be supplying completely

different calibration rings depending on
small button behind the large Start/Stop
button at the right side of the turntable
component parts. whether the turntable will be used in a coun- plinth.

SOUNDSITES
AWARD
WINNING
SOUND
Len Wallis Audio

64 Burns Bay Road
Lane Cove, NSW 2066
02 9427 6755 Call 02 9317 3330
www.tivolihifi.com www.lenwallisaudio.com.au www.audiosolutions.net.au
TO ADVERTISE
IN SOUNDSITES
CONTACT
Class A Vinyl
LEWIS PREECE
HIGH QUALITY VINYL TITLES
AND RECORD ACCESSORIES
on 0434 439 032 ONLINE AND IN-STORE, EFTPOS AVAILABLE
or “A new experience
in Switched On Living”
Tel 03 8555 0735
8/585 Blackburn Road, Notting Hill, VIC 3168
lewis.preece@futurenet.com 1300 761 022 A DIVISION OF CLASS A AUDIO
sales@audioconnection.com.au
www.audioconnection.com.au www.classaaudio.com.au
Experience one of
Australia’s Top On-Line
Audio Retailers
VISIT OUR STORE!

Level 1, 1277 Nepean Highway
Cheltenham VIC 3192
0411 261 822
02 9651 4922 OR VISIT US ONLINE AT:
www.eastwoodhifi.com.au www.audiophilereferencerecordings.com.au www.krispyaudio.com.au

ON TEST Y a m a h a G T - 5 0 0 0 Tu r n t a b l e
When you change speed by pressing it I also had quite a few different head-shells pitch (i.e. A=440Hz) would often be too long
down and releasing it, the relevant (33 or 45) available, several of which allowed a greater to fit onto the two sides of an LP. Recording
LED blinks green twice very brightly then range of adjustment than the one Yamaha engineers would then ‘solve’ this problem by
glows steadily at reduced brightness. When supplies, which then allowed me to use the speeding up the tape recorder feeding the cut-
the switch is at 33, it sits exactly flush with ‘shorter’ cartridges. In the absence of a list ting lathe, which then reduced the duration
the bezel around it, whereas when it’s at 45 from Yamaha, you will need to depend on of the work so that it would fit.
the top of the switch sits 2.5mm proud of the your hi-fi retailer’s knowledge with regards to However, speeding up the recorder in this
bezel. phono cartridge suitability. way also raised the pitch of all the instru-
The same physical action is true for the My ability to fit alternative head-shells was ments (and voices), so that if the turntable
platter Start/Stop button and the Power but- made possible because Yamaha’s tonearm has used to play the LP was set for 33.33 rpm (the
ton (at the left of the plinth). When the Start/ a standard ‘universal’ head-shell fitting. so-called ‘correct’ speed) the pitch of those
Stop button is in ‘Start’ mode, the button is The very first thing I had to do after instruments and voices would be higher than
flush with the bezel, and when it’s in ‘Stop’ cartridge alignment was to use the strobe it should be. Being able to set the platter to
mode, it sits proud of it. And when the power to ensure the platter was rotating at exactly rotate slightly slower than 33.33 rpm (via
button is set to ‘On’, the button is flush with 33.33 rpm. Having not done this initially, a pitch control) allows corrections for such
the bezel, whereas when it’s off, it sits proud I found it a bit difficult to locate the strobe pitch inaccuracies.
of it. This is not only elegant engineering, it cord’s plug in the socket at the rear, so you Another situation where you might not
also means you can instantly tell the status of should bear this difficulty in mind if you’re want a turntable to play at exactly 33.33 rpm
the control even when your eyes are closed, planning on regularly inserting and removing is when you want to play along with an LP
or in complete darkness. the strobe light… and I certainly wouldn’t with a notionally fixed-pitch instrument,
Around the rear of the GT-5000 you’ll find recommend leaving it switched on perma- such as a piano, and you find that, for what-
something completely surprising, which is nently. ever reason, your piano is slightly out of tune
that it has not only a pair of standard unbal- In point of fact, the only reason I can with the LP. A little tweak on the pitch con-
anced RCA outputs (gold-plated of course), think of that you’d have to regularly insert trol (either up or down, as appropriate) will
but also a pair of balanced XLR outputs (also and remove the strobe light is if you regularly have you playing along in perfect harmony.
gold-plated). Even the essential ground termi- play 45 rpm LPs, because I found that if I set And if you sing along, and can’t quite reach
nal screw is gold-plated. All these are located the speed to 33.33 rpm using the strobe, then the very highest notes (or the very deepest)
on one mounting plate at the left of the switched to 45 rpm, the strobe showed that an appropriate touch on the pitch control
turntable. At the right is another plate that the platter was running slightly slow, which will fix both these issues as well.
has a standard 3-pin 240Vmains socket and a meant tweaking the platter speed up a little. Call me slow to twig, but I had not realised
smaller, 3.5mm socket for the strobe light. If I then switched back to 33.33 rpm, the why there was a groove at the periphery of
Also on the rear are four chromed knurled platter ran slightly fast, which meant another the GT-5000’s platter until it came time to ac-
screws, in two pairs. These are to attach the platter speed tweak. tually place my very first LP onto the platter,
heavy-duty clear perspex dust cover that in But any constant speed adjustments using at which point it suddenly dawned on me
many countries is apparently an optional the strobe would assume, of course, that you that because the Yamaha’s platter was ‘way
extra but here in Australia comes standard actually want the platter to be rotating at bigger than the LP, the groove was essential
with each turntable, but packaged separately, exactly 33.33 rpm or at 45 rpm and there’s in order to allow LPs to be easily positioned
so that owners can choose to fit it or not. really very little reason you would actually and removed.
Yamaha Australia also offers a very gener- want to do this. The simple fact is that a great Which got me to thinking why the platter
ous ten-year warranty on the GT-5000. many LPs need to be run slightly off-speed if was so much larger than usual in any case,
you want the music that’s contained on them and another light in my brain went on:
LISTENING SESSIONS to be true to the pitch at which the music Inertia, or probably (I forget the physics and
Yamaha does not supply a phono cartridge was originally played. didn’t google it), Moment. Basically, the
with the GT-5000 and, so far as I could ascer- This comes about because of the limited larger the diameter of any wheel (platter),
tain, does not supply a list of cartridges that playing time available on an LP meant a work the greater the ‘flywheel’ effect, and thus the
might be suitable for it. When I say ‘suitable’ that was played and recorded at the right greater the stability of rotation.
I intend this to mean a list of phono car-
tridges which can be installed in it such that
their stylus is able to be correctly calibrated
according to Yamaha’s gauge.
I mention this because several of my
cartridges had their stylus so far back in the
cartridge body that I could not get the stylus
to the alignment point on Yamaha’s gauge
even when the mounting holes at the top of
the cartridge were at the extreme end of the
adjustment slots on Yamaha’s head-shell.
As a professional hi-fi reviewer I was in the
enviable position of having many different
cartridges on-hand, and was fairly easily able
to find several that I was able to align as per
Yamaha’s instructions.

For the
love of music. 607 S2
Anniversary Edition
Oak
For decades, we have poured our passion
for performance and our love of music into
everything we do, from our most affordable
loudspeakers to our studio-quality 800 Series
Diamond range. Now, our 600 Series has
turned 25 – an occasion we think is worth
celebrating in style.
Introducing the NEW 600 Series

Anniversary Edition, featuring improved
performance and two new cabinet finishes,
Oak and Red Cherry, in addition to our
standard Matte Black and Matte White options.
For more information or to find you nearest

Bowers & Wilkins dealer, visit www.bowerswilkins.com
Or contact us: 02 9196 8990 or info-au@bowerswilkins.com
603 S2 606 S2 HTM6 S2
Anniversary Edition Anniversary Edition Anniversary Edition
BowersWilkinsAu Red Cherry matte white matte black
Optional STAV24 floor
stand shown
ON TEST Y a m a h a G T - 5 0 0 0 Tu r n t a b l e
(For confused readers, Barbarian is a

reworking of Bartók’s Allegro Barbaro—from
whence the name—and Knife Edge sounds a
lot like a melding of the first movement of
Janáček’s Sinfonietta with the Allemande from
Bach’s French Suite in D minor, BWV 812.)
If you’re at all surprised by this revelation,
you shouldn’t be. Many of the greatest rock
classics of recent times are just knock-offs
from the great classical composers. One
of Billy Joel’s most famous compositions
is almost a transcription of a well-known
classical piece, indeed I very recently saw a
TV interview where when Paul Simon was
being praised for a particular tune that bore
his name he quite happily admitted that it
wasn’t his, and played the original, classical
version on the guitar he just happened to
have in his lap to prove the point. And just
in case you were wondering, it’s all perfectly
legal and legit. The copyrights lapsed a few
hundred years ago, and you don’t even have
Clever, very clever! (And here I’m not talk- “Feedback used for direct-drive control to credit the original composer.
ing about me, but about Yamaha’s engineers.) cannot fundamentally eliminate the response When it was pointed out that what is
The large, heavy platter has one slight time regarding rotation unevenness caused by possibly Procol Harem’s most famous song (A
drawback, which is that it’s a bit difficult cogging, and this affects the sound. To avoid Whiter Shade of Pale) was a Bach knock-off,
for the single flat drive-belt to coax it up to this, a motor drive that does not require feed- with even Wikipedia coyly noting that: “The
speed. I discovered that every time I pressed back technology has been adopted.” similarity between the Hammond organ line
the play button, there was initially a tiny bit Cogging is a strange phenomenon, but it’s of ‘A Whiter Shade of Pale’ and J.S. Bach’s Air
of slippage, after which it took 15 seconds certainly audible, and the GT-5000 obviously from his Orchestral Suite No. 3 BWV1068,
for the platter to stabilise at 33.33 rpm. And doesn’t have it. But in a world of superior belt- (the ‘Air on the G string’), where the sustained
if you press the play button again to stop drive designs, the GT-5000 to me stood out as opening note of the main melodic line
the platter, it takes a full 23 seconds for the being even more superior, because the sound flowers into a free-flowing melody against a
platter to come to a complete halt. was just so smoooth (and I stand by the extra descending bass line, has been noted.” Gary
It won’t come as a surprise to regular “o” in that word, because the sound from the Brooker, who is credited with the composi-
readers to find that that very first LP I placed Yamaha GT-5000 is actually smoother than tion (and still owns the copyright!) told Uncut
on the Yamaha GT-5000’s platter was my new smooth, but I just didn’t have a word to de- magazine: “I wasn’t consciously combining
favourite recording of Eric Satie’s ‘Gym- scribe it). There was a beautiful ease and ‘flow’ rock with classical, it’s just that Bach’s music
nopédies’ as performed by Anne Queffélec to all the music I played on the GT-5000 that was in me.”
(Virgin Classics 522 0502) whose tempi are transported me to a higher plane. Just to be fair and even-handed, all the
perfect and whose rubato is glorious. I just Having been a bit concerned about the greatest classical composers also “knocked
love the liberties she takes with the score, tracing ability of a shortish arm and the lack of off” tunes from other composers, as well as
which elevates it from just being ‘another anti-skating, I put the combo to the test with a blatantly recycled their own best themes and
virtuoso performance’ into another league couple of my favourite albums only to find that melodies into other of their compositions,
completely. (Though as another reviewer it absolutely sailed through Emerson Lake and but back then, copyright wasn’t a thing,
was insistent I point out, she was not brave Palmer’s first and second albums (they being and due to a lack of recording/playback
enough to omit the final chord.) ‘Emerson Lake and Palmer’ and ‘Tarkus’) both facilities, any liberties taken by composers
The reason for playing Satie was, of course, of which are notable for possessing far more who knocked off others’ compositions were
that slow (very slow, insanely slow) piano bass energy than most ordinary phono cartridg- unlikely to be discovered.
music will immediately reveal if a turntable’s es (and tonearms) can handle and therefore are Rumble, signal-to-noise ratio… call it what
platter is ‘wowing’ (slow speed variations) very difficult to track. (Though not as difficult you will, you don’t want any in a turntable
or ‘fluttering’ (higher speed variations) as it as the cannon-fire in Tchaikovsky’s 1812 and you certainly won’t find (hear) it issuing
rotates. I can happily report that I heard zero Overture with Erich Kunzel and the Cincinnati from Yamaha’s GT-5000. This is one silent
wow and zero flutter when auditioning the Symphony Orchestra on Telarc, which the GT- turntable. Super silent. I eventually gave up
GT-5000. I also did not hear any cogging ef- 5000 also sailed through with flying colours. ) trying to hear any rumble or bearing noise
fects which, of course, is precisely the reason ELP is a tour-de-force of an album, not least when listening to music and instead resorted
Yamaha elected to use a belt drive rather than because of the individual musicianship of the to using a stethoscope borrowed from my
a direct drive for its GT-5000 in the first place. band members—particularly Emerson—but also brother-in-law to listen to the plinth in a
In the words of Yamaha’s Kiyohiko Goto: because two of the tracks (Barbarian and Knife dead-quiet room. While I could hear some
“A belt drive has been adopted to minimise Edge) were partly written by those three famous noise at the ‘motor’ (left) side of the plinth, I
the effects of uneven rotation due to motor rock musicians Béla Bartók, Leoš Janáček and could hear nothing at all at the all-important
cogging.” Johann Sebastian Bach. (tonearm/right) side of the plinth.

LAB REPORT
CONCLUSION
Yamaha’s GT-5000 is such a mind-blowingly
fantastic turntable that the only way I think
it could be improved is for Yamaha to offer a
version without a tonearm. Admittedly such
a model would most likely appeal only to
those audiophiles who already own a favour-
ite tonearm, such as ‘The Wand’ from Simon
Brown, or a Sorane ZA-12, or maybe even a Graph 1. Long-term speed variation histogram (see copy). Note that the measurements shown on this graph
classic such as an SME Series V, but I think include speed inaccuracies in the test pressing used to make the measurement.
there’s a fair few of them around, and given
the level of performance of the GT-5000, Graph 2. Rotational
stability over a 30-second
they’d be absolutely queuing to buy one! period. Raw variations
But if you don’t already own a favourite are shown by the khaki
tonearm, then you have absolutely no excuse coloured trace. The mean
speed over the period is
not to buy a Yamaha GT-5000: it’s just that
indicated by the dashed
good! Andrew Frazer blue line. The overall wow
ðŢēǡƯƧƧěƓ̶ŠěðƛƯƓěē
Readers interested in a full technical appraisal of according to the IEC 386
the performance of the Yamaha GT-5000 Turntable standard is shown for a
should continue on and read the LABORATORY dynamic measurement
REPORT published on the following pages. (purple trace) and for a
2-Sigma analysis (red
CONTACT DETAILS trace). Note that the
measurements shown on
Brand: Yamaha this graph include speed
Model: GT-5000 inaccuracies in the test
pressing used to make the
Price: $12,995 (RRP) measurement.
Warranty: Ten Years
Distributor: Yamaha Music (Australia) Pty Ltd
Graph 3. Signal-to-
Address: Level 1, 80 Market Street
noise ratio (rumble)
South Melbourne measured over a
VIC 3205 30-second period using
a Messkoppler and
T: 1800 805 413 referenced to a recorded
W: au.yamaha.com velocity of 3.54cm/
second.
• Superb performance
• Fabulous looks
• Plus-sized
• Tonearm height adjuster
reported the frequency as 2990Hz, 10Hz Newport Test Labs used separate Me-
lower than it should have been. This is guro and MTE instrumentation to measure
only 0.3% low, and not much in terms long-term (20-minute) speed variations and
of absolute pitch so you may not want to reported wow and flutter as being 0.06% RMS
LABORATORY bother about adjusting it, but of course it’s unweighted and 0.08% CCIR weighted. The
TEST
easy enough to do if you do care. wow and flutter the laboratory measured
Long-term speed variations were was identical for both 33.33rpm and 45rpm
REPORT vanishingly small, as you can see from

the histogram accompanying this review.
speeds, for both the RMS and CCIR standards.
Graph 3 shows the noise (rumble) of the
(Graph 1.) Yamaha GT-5000, referenced to a 315Hz test
The absolute speed accuracy of the Yamaha GT- Rotational stability, as measured by signal recorded at a velocity of 3.52cm/sec.
5000 will be down to how accurately the user Newport Test Labs, and as graphed in You can see that it’s mostly more than 90dB
can set the speed using the strobe light and disc, Graph 2, was also excellent. This test down, which is an outstandingly good result:
because there is no ‘default’ or ‘0’ setting on the measures the speed for a full 30 seconds. the best I have ever seen, in fact.
pitch control knob, so Newport Test Labs instead The raw variations are shown by the khaki The Yamaha GT-5000’s power consump-
used a test record with a 3kHz test tone and set coloured trace. The mean speed over the tion is negligible, with the turntable drawing
the speed using a frequency counter to ensure the period is indicated by the dashed blue only 0.41 watts (+0.845 PF) in standby, and
most accurate measurements. line. The overall wow and flutter, meas- only 10.67-watts (+0.755PF) at 33.33rpm.
Once the GT-5000’s speed was set to exactly ured according to the IEC 386 standard On the basis of these outstandingly good
33.33 rpm, the lab switched the platter speed is shown for a dynamic measurement test results I can confidently state that the
to 45 rpm and played a 3kHz test tone that had (purple trace) and for a 2-Sigma analysis Yamaha GT-5000 sets a new standard in turn-
been recorded at 45 rpm. The frequency counter (red trace). table performance. Steve Holding
Australian Hi-Fi | 23
ON TEST
With a connection to a computer via USB,

the unit supports PCM with up to 384kHz
sampling and 24-bits of resolution and Direct
Stream Digital in regular, double and quad
speed versions (i.e. DSD64, DSD128 and
DSD256). The driver objected to 32-bit audio.
For Windows, it’s best to choose the ASIO
driver rather than WASAPI. The latter worked
with everything except for DSD256. Every
time I tried DSD256 with the WASAPI driver,
not only did no sound come through, but it
broke something in the driver, requiring a re-
boot of my computer before the DAC would
produce any sound at all (with any format).
The Focal Arche employs dual AK4490
DAC chips for digital to analogue decoding.
These are specified to support sampling rates
up to 768kHz, use up to 32× oversampling,
use 32-bits of resolution, offer five filter
curves and run with a THD+Noise figure of
112dB.
The Class-A headphone amplifier is du-
al-mono and is rated at 2× one watt at 1kHz
for impedances less than 32ȍ. The frequency
response is specified at 10Hz to 100kHz, S/N
ratio at 116dB and THD at less than 0.001%.
No additional criteria are provided for those
numbers. I guess that these specs are for the
amplifier alone. (16-bit PCM is going to bot-
tom-out at a signal-to-noise ratio of around
FOCAL
97dBA for example.)
In the settings menu the unit can be set to
ARCHE
‘Low’ or ‘High’ gain and an amplifier mode
can be selected for each of the current model
Focal headphones, plus there are non-Focal
DAC & HEADPHONE AMPLIFIER settings labelled ‘Voltage’ and ‘Hybrid’. There
was a definite mechanical click from within
F
the unit when switching from some settings
rench company Focal makes On the front is a blue-on-black display to others, suggesting to me that there’s a relay
loudspeakers and headphones. screen. To its left is a 6.35mm stereo head- doing something in there.
Some of its headphones are phone socket. And to the left of that is a
pretty high-end. As are some 4-pin XLR socket for balanced headphones. INSTALLATION
of its loudspeakers. So the To the right of the display is a combination I did the great majority of listening and test-
company has lately taken to rotary control/press button. The principal use ing using my computer as the source.
producing high-end electronics of that is for output level and switching the
to drive them. For example, the Focal Astral unit in and out of standby. But it also invokes
16 A/V processor and amplifier runs to more the main menu, in which turning the wheel
than $30,000. Here we’re spending some time takes you through the options.
with the more modestly priced Focal Arche On the back panel are the line outputs: a
DAC and headphone amplifier. pair of unbalanced RCA sockets and a pair of
balanced XLR sockets. The inputs are also at
THE EQUIPMENT
If you are after a high
the back. There’s a USB Type-B for plugging
In one way the Focal Arche looks very differ- into your computer, an optical digital audio
ent. It comes with a curved section of metal. input, a coaxial digital audio input and a pair quality DAC to drive
your Focal headphones
The straighter end has a home amongst the of RCA sockets for analogue inputs. The USB
heat sink slots on top of the unit. Install it Type-A socket is only there for upgrading the
there and it forms a stylish headphone stand
for your Focal (or other) headphones.
firmware of the unit. As we write, the Focal
Arche is on its original factory-installed firm-
(or really, any brand or
Apart from that, the layout of the unit is ware and no newer version is available for model of headphones
fairly conventional for this kind of product:
deeper than it is wide, a flat well-built (over
download. The regular digital audio inputs
support PCM up to 192kHz sampling with
at all), the Focal Arche
4kg) slab of electronics. 24-bits of resolution. ŁƛðǠŢěƯŢŁƧ̻
Focal Arche DAC & Headphone Amplifier
For full use that required that I install USB need to go into the settings menu to switch
Audio Class 2.0 drivers from Focal’s website. the Arche’s automatic standby function off.
Keeping one’s web presence in alignment Also, I would further suggest that you
with slower-moving formal documentation don’t use the ‘High’ gain setting. I tried it at
can be tricky, nonetheless it’s a good idea to one point while the RCA outputs were con-
take some effort. So when reading the ‘Firm- nected to my audio system. It did seem rather
ware Update’ section of the manual, in which louder than usual for a given system output Graph 1. (See copy)
the first step is to ‘Go to http://www.focal. level setting. But as I played the bonus ‘Yes’
com/arche’, one really should not be con- cover of Simon and Garfunkel’s America from
fronted with a ‘403 Forbidden’ message. Oh, ‘Fragile’, there was this weird crackle on the
you can navigate your way there through the right channel. Well, not precisely a crackle,
usual links—it’s at https://www.focal.com/en/ but rather a ‘crack’ on certain very loud
headphones-0/headphones/headphones-elec- notes. For a few moments I revelled in this:
tronics/amplifier-dac/arche#download—but a little something previously unheard! But
why put it in the manual if it’s going to be then I started to worry. Was there something
wrong? And why not put a redirection on the wrong with the right-hand KEF LS50 speaker
now-defunct page to send new owners to the I was using (supplemented by a Krix subwoof-
correct page? er, but that’s not relevant here). Graph 2. (See copy)
That wobble aside, there were no problems So I started fiddling with levels. I turned
installing the drivers, and no problems with the Focal Arche down to ‘80’ output instead
any of my Windows player software in using of ‘99’, and turned up the amplifier to restore
them. Windows reported supported PCM the speaker output to the same volume level
resolutions of 16- and 24-bits from 44.1kHz as previously. There were no more ‘cracks’...
up to 384kHz. which I found a bit odd, because it was pre-
sumably input overload distortion, but input
LEVELS overload distortion doesn’t normally sound
I found I had to be a little careful using the like that.
line outputs. There wasn’t a ‘fixed’ line level
output. It was controlled by the front-panel LISTENING SESSIONS
Graph 3. (See copy)
level control, just as the headphones were. I should note that the unit does not decode
I initially made the assumption that, like MQA. If you use TIDAL, the TIDAL app will
some other DACs which lack a fixed line-level unfold any MQA high-resolution content
output, the appropriate thing to do was and the Arche will indicate on its front panel
simply to advance the gain to the maximum display the higher sampling rate… or at least
position—an indicated ‘99’ on the front it will if you press the front panel control
panel—and then use my amplifier’s volume button or rotate the knob.
control for level. When I later checked the The default state of the display is a large
manual, that is indeed what Focal suggests. pair of digits indicating the output level,
Note, also, that there is only one system-wide with the selected input source in smaller type
level. The unit does not maintain separate above it. To see sample rate and digital audio
Graph 4. (See copy)
levels for headphones and line output. format you have to manipulate the control.
Indeed, inserting headphones does not stop After a few seconds it reverts to the previous
the line output. If you have it on 99 for your state. There’s no option for changing the 88.2kHz or 96kHz as appropriate because it
main system and then decide to listen with display mode permanently. had previously been used in conjunction
headphones, do make sure you turn down It’s good that the format and rate can be with my review of an AudioQuest Dragon-
the level. seen, but I’d prefer to have them showing Fly Cobalt DAC. As I keep saying in all my
But as the unit always switches on with by default. This was brought home when I reviews, it’s very easy to accidentally use the
the volume level set to ‘20’, which is way too discovered at one point that 192kHz tracks wrong output settings, but, of course, most
low both for headphones and the line output, were coming out at 96kHz. I was using JRiver normal people are not hi-fi reviewers and
I’d recommend you never switch the unit off Media Centre and had previously set it to will therefore be setting up their computers
at all. This will also mean that you will also convert anything above 96kHz sampling to for just the one DAC, not darting around
between different ones.
I didn’t have an amplifier with XLR inputs
available, so for loudspeaker listening used
the RCA outputs. Generally the unit sounded
excellent, just as I’d expected. But every so
often there was just a little background noise,
sounding somewhat like random electrical
noise. Which of course had me suspecting
some breakthrough of the noise from my
home computer network, delivered by the
USB connection.
ON TEST
The effect was subtle, and the B3 buds

sounded excellent anyway with the Cobalt,
but they sounded even better with the Arche.
I would have liked to experiment more with
listening using the different modes, but the
loaner review unit was by then already over-
due for return.
With the Oppo PM-3 headphones, the
sound was more traditional (they are closed
back). They have an even impedance across
the audible frequency band so they don’t re-
ally care about (modest) output impedances.
They delivered an extremely solid perfor-
mance with the Focal Arche amplifier. I went
back in time to the debut Black Sabbath al-
bum. The thunder at the opening of the first
track was utterly clean and deep. When the
first riff cuts in, the drums pierced through
the mix to hover above it all, even the toms.
They were surrounded by substantial air,
filled with their natural reverb. The hi-hat bit
appropriately.
Going back to the Final Audio B3 in-ears,
there was enormous life and dynamic range
across all the music genres I tried (including
prog rock, jazz, female vocalist, baroque and
classical). The best sound came from the
open-backed Elear headphones. Focal knows
what it’s doing by providing a first-class
signal to drive its own products: The Elears
were open and airy, limitlessly detailed and
beautifully balanced.
ON TEST
I calculated the internal impedance of the
I therefore unplugged the computer from And that translated into a real authority in Focal Arche’s headphone output at 2.5ȍ. It
the network as well as from mains power, but performance. At this point I’ll pause to slight- delivered 1.9VRMS into a 300ȍ load, which
it made no difference. I only heard it in one ly regret the order in which I did things. As is around 12mW or nearly 11dB above the
listening session, so after a while I started to is my usual practice, the measurements were sensitivity rating used by most headphones.
doubt that I’d heard it at all. made after the listening sessions had been Into a 16ȍ ohm load, it delivered 1.65VRMS,
There was certainly no such noise when completed. I do that intentionally because or 170mW and more than 22dB above sensi-
using headphones. And, of course, it’s with I’m fearful that my listening impressions may tivity rating.
headphones that one is most likely to hear be coloured by knowledge of the unit’s objec- I figured that was that... but a couple of
such untoward things. tive performance. But in this case I was later days later I started to wonder about the differ-
I used a pair of Focal Elear dynamic head- to discover that the one thing done by the ent amplifier settings. The Voltage setting is
phones—Focal’s ‘entry level’ model, priced named amplifier output settings was switch supposed to be a voltage amplifier, in which
at $1,599—as well as Oppo PM3 planar mag- between three different output impedances. the unit need not provide much current.
netic headphones (the brand has now ceased That means that to the extent that a set of The Hybrid setting is supposed to combine
to operate in this space), a pair of ancient headphones has an uneven impedance curve, voltage and current amplifier functionality.
Sennheiser HD-535 open-back models and a its tonal balance will vary according to the And the other five settings feature outputs
set of Final Audio B3 in-ear monitors ($729). setting of the amplifier. optimised for particular models of Focal
The Arche’s output was set to ‘Elear’ for those That seemed to have an affect upon the headphones. Would they make a difference?
headphones, of course, and to ‘Hybrid’ for performance of the Final Audio B3 in-ear Indeed they would! To four significant
the others. monitors. These use dual balanced-armature figures at nine different measurement criteria,
The first thing to note was that with none drivers (sans crossover) and delivered a fuller, the Voltage output setting was unique, while
of the headphones was there any chance of richer, more balanced performance with the the Hybrid and Elear settings were the same,
the output limits of the Focal Arche being ap- Focal Arche than they did with the DragonFly and the Utopia, Clear, Elegia and Stellia set-
proached. ‘Ample’ is not the word to describe Cobalt mini-DAC. It turns out that the ‘Hy- tings were the same. It was with the Voltage
the output on tap. It could be destructive brid’ setting of the Arche implements a 10ȍ setting that the internal impedance of the Fo-
if one wanted. You need not worry about inline output impedance, and I’m thinking cal Arche was around 2.5ȍ. With the Hybrid
your headphones being supplied insufficient that this provided a fortuitous adjustment of and Elear settings, it was around 10ȍ. With
power. tonal balance. the Utopia et al setting it was around 17.5ȍ.

BUY MUSICAL FIDELITY.
THEY’RE BOXY
BUT THEY’RE GOOD.
M8xi
Dual Mono Integrated Amplifier
We know they’re not sexy,

but they’ve just won EISA amplifier of the year.
BE SAFE INSTEAD OF SEXY
Boxy, but good
Distributed by Audio Marketing / www.audiomarketing.com.au / 02 9882 3877

ON TEST
To double-check the test setup, I then

switched in a different DAC which I knew to
provide good performance. Its RCA outputs
delivered a noise performance of –114.5dBA
when using exactly the same rig I used for
the Arche.
Graph 4 illustrates the variance of the
noise levels depending on the output used.
I have included a couple of the RCA outputs
with and without the connected computer
plugged in, plus the optical connection. They
are the five traces up relatively high. The
white and green traces near the bottom are
via the XLR outputs. The purple trace right
at the very bottom is the RCA output from
I did not repeat the measurements on the you can see that the frequency response is the comparison DAC. The point of that is
‘High’ gain setting, just did a quick check to sensible: it rolls off a little above 8kHz to demonstrate that the test arrangement wasn’t
see what effect that had on level: it boosted be down by around 0.35dB at 20kHz, then the problem.
it by 12dB. Into high-impedance loads you drops rapidly beyond that. There’s also a very Note, also, that all the output measure-
can expect the maximum output from the slight roll-off in the bass, with output down ments—apart from the one for the compar-
headphone amp to be about 7.5VRMS. Clear- by 0.4dB at 10Hz. ison DAC—had a weird bump in the noise
ly there’s never going to be a shortage of Graph 2 shows the frequency response around 60–70kHz of varying levels. This
power even with high-impedance, low-sensi- with 96kHz sampling, and you can see that would not, of course, be audible, but it is just
tivity headphones. the bass was the same while output was a little bit strange.
The unit has fairly aggressive output down by 0.3dB at 20kHz, 0.7dB at 30kHz and
protection. Everything went smoothly at low 1.2dB at 40kHz. CONCLUSION
gain, but when I tried to measure maximum Graph 3 shows the frequency response If you are after a high quality DAC to drive
output at high gain into low impedance with 192kHz sampling, and you can see that your Focal headphones (or really, any brand
loads (16ȍ), I kept tripping the protection. the the 96kHz performance is simply con- or model of headphones at all), the Focal
Oh, don’t worry that this may constitute tinued: –1.8dB at 50kHz, –2.6dB at 60kHz, Arche is a fine unit.
some limitation on performance. Oh no... –3.4dB at 70kHz and –4.3dB at 80kHz. My same enthusiastic recommendation
the last measured output voltage with a Clearly Focal has chosen the DAC filter will also be the case if you intend to use the
1kHz test signal into that low impedance settings to return a flatter, more extended fre- Focal Arche in your main system… but only
was around 5.2VRMS. That equates to quency response than many other DACs. if you’re using the XLR outputs.
1.7 watts—not milliwatts, watts—output. With 24-bit audio, tested with both 96kHz Stephen Dawson
Add 32dB to the sensitivity rating of your and 192kHz sampling, the noise performance
earphones or headphones, and that’s the I measured from the Focal Arche was simply
maximum it will deliver with the high gain weird. Let’s start with the easiest bit.
CONTACT DETAILS
setting. Enough, in other words, to do major With the XLR outputs, the noise was at
damage to you or your ear gear in very short –108dBA consistently with repeated mea- Brand: Focal
order. All that was in voltage mode, which surements. And that figure was maintained Model: Arche
you will recall has a low output impedance. irrespective of whether my Surface Pro 2017 Price: $3,799
In Hybrid mode, with an output impedance was plugged in or not. When it was plugged Warranty: Two Years
of around 10ȍ, the unit could be wound in, it was connected by wire to my home net- Distributor: BusiSoft AV Pty Ltd
up to the maximum level at which point work, and that is one horribly noisy affair. Address: 158 Christmas Street
it was producing a ‘mere’ 4.7VRMS output. The great majority of DACs let some of this
HðŁƓǠěŗē
Or 1.4-watts and 31dB above the sensitivity noise out into the analogue output.
VIC 3078
rating. The Focal Arche did not. Measurements,
T: (03) 9810 2900
The unbalanced line level outputs were a plugged in or not, were identical… at least
W: www.busisoft.com.au
bit lower in voltage than the norm, deliver- they were when I was using the XLR outputs.
ing around 0.95RMS in ‘Low’ gain mode and But when using the RCA outputs, things
3.8VRMS in ‘High’ gain mode. Of course, were very different. First, the results I gained • Beautiful solid design
that’s with the level control set to maximum were inconsistent. From measurement to • Exceptional isolation from
in both cases. measurement they ranged from –79dBA to USB noise
Speaking of the level control, it has 100 –97.6dBA. Again, it didn’t matter whether • Can tune output impedance for
indicated levels. Down very low each numer- the computer was plugged in or not. To different headphones
ical increment amounts to around 1.5dB. At double-check that, I pulled out a network
• ÚŭƯŗēƐƓěĳěƓðǠǌěēŗŁŢě
higher levels that drops to 1dB per indicated streamer and connected it to the Focal Arche output level setting
number, then 0.5dB and then from level 60 by optical digital audio, just to ensure that
• Inconsistent noise levels on
and up, 0.5dB per two number increments. there was no way any electrical interference RCA outputs
Graph 1 shows the frequency response could be carried. It resulted in a middling
of the Focal Arche with 44.1kHz signals and –89.8dBA noise level.

Parker Duo
2-way stand speaker
NEW
SER IES PARK ER
This year, we are pleased to launch a new
series with three loudspeakers. Our new series
started as an update to Heritage, but proved
to be more radical than an upgrade. Parker is a
real departure. Significant improvements to cabi-
net resonance, a newly designed crossover and Parker Trio
2.5-way floor stander
bespoke drivers make the series a step-change.
All models come in ceramic or diamond edi-

tions. The build has new and improved con-
struction, allowing the cabinet to truly disappear
within the soundstage.
As the world shifts at this demanding time, we

feel it’s necessary to keep pace. At Marten, it’s
business as usual. We’re proud to launch three
new speakers, no matter the challenge.
In moments like these, we can do more than
stay afloat - it’s time to swim.
Parker Quintet
2.5-way floor stander
AVAILABLE IN SEPTEMBER AT ABSOLUTE HI END AND SOUND GALLERY
AVAILABLE IN AUSTRALIA THROUGH ABSOLUTE HI END . 0488 777 999 . info@absolutehiend.com . www.absolutehiend.com
ON TEST
MICHI
P5 & S5
PREAMPLIFIER & STEREO POWER AMPLIFIER
C
an a famous brand be a had, such as reclining rear seats with built-in You know it already: Lexus. And they sold
victim of its own success? massage systems, and doors that opened and like hot cakes (and still do), because, quite
Ask any professional closed electronically at the touch of a button. frankly, not everyone can own a Lexus.
marketing person that Still in production, the Toyota Century is Which brings us to Rotel.
question and their an- the vehicle that is used to transport both the At the start of the hi-fi era, in the 70s,
swer will be a resounding Japanese Emperor Naruhito and the Prime Rotel was by far and away the best-selling
“Yes!” Take, for example, Minister of Japan, ShinzŮ Abe. hi-fi component manufacturer in Japan and,
one of the world’s most famous motor vehi- It wasn’t the money that stopped those indeed, in all probability the best-selling hi-fi
cle manufacturers, Toyota. who could afford it from buying a Toyota brand right around the world, with a well-de-
Toyota is not only one of the most famous Century (the current model will set you back served reputation for delivering top quality at
car companies in the world, it also sells more than $250,000), it was the badge on the reasonable prices.
more passenger vehicles than any other car bonnet. Because anyone could own a Toyota, However, as more and more manufacturers
manufacturer. But when it first tried to enter it seems that the rich didn’t want to be seen entered its particular niche in the hi-fi mar-
the luxury vehicle market to compete against in one. Motoring enthusiasts didn’t want to ket, Rotel’s market share diminished, so that
the likes of Rolls Royce, Mercedes Benz and be seen in one either. Imagine if, when asked in the early 90s, the company decided to start
Daimler, with its fabulous—and famous— what type of exotic vehicle they drove, they building high-powered, high-performance
Century model, it could not gain any traction had to answer “a Toyota”. ‘luxury’ models to compete against the
on the world market. No-one wanted to buy So what did Toyota do? It started building likes of Luxman and Accuphase in its home
one, despite its technical superiority and the luxury vehicles that didn’t have the Toyota market, and against the likes of McIntosh and
provision of luxury fittings no other vehicle badge on them, but another one. That name? Audio Research on the world stage.

Michi P5 Preamplifier & S5 Stereo Power Amplifier
The models it built were undeniably what’s inside it… at least it doesn’t until you USB-A socket is only there to power external
fabulous and were certainly completely dif- switch it on and its brilliant full-colour OLED devices. It has no digital signal capability. The
ferent visually from all other Rotel products, panel springs into life. RS232 connector is there, of course, to facili-
exemplified by the appearance of the RHC-10 Then, if you spin the left-most control to tate custom installation integration.
preamplifier and RHB-10 dual mono power see what sources might be on offer, you’ll Also on the rear panel are six pairs of ste-
amplifier, to name but two. The company discover that the P5 has no fewer than six reo line outputs, labelled ‘Line Out’, ‘Mono
also learned from Toyota’s marketing line level inputs, four of which are unbal- Sub Out’, ‘Pre Out1’ and ‘Pre Out2’, ‘Balanced
anced (via RCA inputs) Out1’ and ‘Balanced Out2’. The ‘left’ and
and two of which are ‘right’ subwoofer outputs are not stereo: as
The Michi S5’s extensive balanced (via XLR) plus the labelling suggests, each one outputs a
menu system allows owners a single phono input

which you can switch
summed signal derived from both channels.
You also get two digital outputs, one coaxial
sophisticated customisation between being most and the other optical.
options for all inputs.

suitable for either mov- The USB input supports 16-bit and 24-bit
ing-coil or moving-mag- PCM from 44.1kHz up to 384kHz as well as
net cartridges. DSD64 and DSD128, but to do this via a PC,
On the digital side, you’ll have to load a Windows Driver, which
you get six SPDIF in- Michi helpfully supplies on a USB stick. Mac
puts, three optical and users, of course, don’t need a driver: their
faux pas and branded the models ‘Michi’, three coaxial, as well as USB and Bluetooth. computers will just work properly with the
which is often translated from the Japanese Curiously, there is no AES/EBU input. Michi. The SPDIF inputs support 16/24 PCM
as meaning ‘Righteous Way’. But instead of The Michi S5’s extensive menu system up to 192kHz. Digital decoding is accom-
leaving it at that, it marketed the brand as allows owners sophisticated customisation plished using an AKM4490EQ 32-bit/768 kHz
‘Michi by Rotel’. You can guess the rest. options for all inputs, so you can switch dual DAC, one of the best of the currently
This time around, twenty years into a off the ones you’re not using so they don’t available devices.
new century, the Michi brand name is just appear when you’re scrolling through inputs, Whereas Rotel equipment was once man-
‘Michi’, the marketing is for ‘Michi’ and the rename any or all of the inputs to more ufactured in Japan, like the great majority of
brand writ large on the front panels is also accurately reflect whatever component you Japanese hi-fi manufacturers (and many other
just ‘Michi’. It’s only if you look around the have connected to them, plus you can use hi-fi manufacturers around the world), it is
back that you’ll find small lettering that says the Michi’s bass and treble controls to make now manufactured in China, and the same is
‘By Rotel’. “Michi is taking Rotel’s values of specific tonal modifications attach to the true for components bearing the Michi name.
excellent performance and value into the specific input you’re using. However, Rotel retains a point of difference
high-end segment with models that offer new You can also fix a specific volume level from most manufacturers because it owns
levels of engineering, build and design while to each input that will override any other its own factory in Zhuhai in China, which it
setting new reference standards for audio per- volume setting and cannot itself by changed established in 2005. Rotel says that although
formance,” says managing director Peter Kao. using the front panel volume control or the Michi components are manufactured at that
“We have used all of our 55 years of design infra-red remote control’s up/down buttons. same facility, they are made in a separate
and manufacturing experience to create our Michi says of this feature: “This is useful for section of one of the factories.
best-ever products.” input sources that include their own volume
setting like common Apps on phones or MICHI P5 POWER AMPLIFIER
MICHI S5 PREAMPLIFIER tablets.” Me saying earlier on that the front panel of
The front panel of the Michi S5 Control Look around the rear of the amplifier and the Michi S5 was austere doesn’t leave me
Preamplifier’s austere exterior, with its black you’ll find some additional digital connec- much to say about the Michi P5 stereo power
glass plate and two large rotary controls gives tions, but the network port is only for firm- amplifier’s front panel because, as you can see
absolutely no clue as to the complexity of ware updates and control over IP, and that for yourself, it’s even more umm… austere.
ON TEST Michi P5 Preamplifier & S5 Stereo Power Amplifier
There’s just a single button at the bottom The display also shows the input voltage at a very soft sound; one that sounds uncannily
centre of its front panel, which is actually a the top right of the display and the tempera- as if someone is exhaling softly through their
standby power switch, since the main power ture of the heatsinks at the top left. The voltage fully opened mouth.
switch is on the rear panel. Since power shown on the display (240V) didn’t actually As for those output transistors, there’s quite
amplifiers consume a lot of power even when reflect the mains voltage in my home at the a few of them to be cooled—32 of them, in
they’re not being used, and particularly so time, which was 244V, so it might just show fact. The power delivered to them issues from
in the case of the Michi P5, which is rated the intended operating voltage, rather than the a pair of 2.2kVA transformers made in-house
with a power output of 500-watts per channel actual voltage being delivered to the amplifier. by Rotel itself. This is not surprising, because
into 8Ω, you can choose to have the Michi Being a power amplifier, all the action is Rotel has been making its own mains power
P5 switch itself off automatically after a no- around the rear, and you should be able to see transformers for many years. What is rather
signal period of 20 minutes, 1, hour, 2 hours, from the photograph that the Michi P5 has surprising is that the four 47,000μF capacitors
5 hours or 10 hours. Alternatively, you can two sets of inputs, one balanced (XLR) and linked (two each via regulators) to each of
disable the automatic power-down circuit the other unbalanced (gold-plated RCA). The these transformers are made in the UK.
completely so it never switches off. rocker switch that selects which of the two I say “surprising” because Rotel is also
As with the S5, the P5 has a very bright will be active is located above them, with a famous for making its own capacitors, but its
OLED display whose primary feature is its network port and RS232 to its left, and 12V website informed me that it “always sources
ability to act as a spectrum analyser, showing trigger inputs and outputs to its right. the best capacitor for each specific applica-
the spectrum of the music being played in There are two pairs of high-quality speaker tion”, which means that in the case of its
your choice of 8, 12 or 16 bands, or you can terminals that are colour-coded and have Michi components, it uses slit-foil and T-Net-
choose to have the display act as a VU meter, collars that make it very easy for the knobs to work electrolytic capacitors from the UK; Ru-
for which there are four different options get a grip on bare wire, plus you can also use bycon electrolytic capacitors from Japan; and
(VU/×2/×4/×8). For either setting you can banana plugs. In a really welcome move, the LCR polystyrene capacitors from Wales. The
choose between four different brightness lev- knobs are completely removable, so you can integrated circuits come from Analog Devices,
els, or you can choose to switch the display use ultra-secure insulated eye terminal termi- Texas Instruments and Burr-Brown, companies
off entirely. nations on your speaker cables if you like. that are all domiciled in the USA.
As you might have guessed from the size of Can I warn you in advance not to attempt
the Michi P5’s chassis, the rated power output to lift—or even manoeuvre—a Michi S5 on
into 4Ω (800-watts) and the relatively limited your own? Its dimensions (485×238×465mm)
amount of heatsinking—along with the fact would make it an awkward lift at the best of
that the heatsinks are covered by a protective times, but no matter what its dimensions, its
What’s most
layer of aluminium—the output devices are dead weight of 60kg would make it impossi-
fan-cooled, for which purpose there are two ble… unless you’re an Olympic weightlifter.
impressive is the large (90mm diameter) holes in either side of
the rear panel. These holes are the exits for IN USE & PERFORMANCE
totality of the very real air-cooling ducts at the other end of which Rather unusually these days, Michi includes
and tangible feeling are located ultra-quiet, low-speed fans that

switch on when the output transistors reach
interconnects with its components. I say
“unusually” because most manufacturers
that a musical event is a temperature of 39°C. These fans are so quiet try to cull favour with their retailers by not
taking place right there that when they’re operating you’ll only be
able to hear them by putting your ear up to
including interconnects, so those retailers can
make additional income by adding intercon-
in your own room. the duct exit, and even then you’ll hear only nects to the sale.

Sounding just as good as it looks - the LPW40WN brings warmth to any room thanks to
its walnut wood finish and focus on a pure, analogue listening experience.
Featuring a precise manual belt-drive mechanism, a classic ‘J-Shape’ carbon-fibre tonearm, and a
built-in phono, the LPW40WN is the perfect foundation for you to start your analogue journey.
For more information on our full turntable, headphone and cartridge range go
to audio-technica.com.au
Follow us @AudioTechnicaAU
ON TEST Michi P5 Preamplifier & S5 Stereo Power Amplifier
While I have to admire Michi for doing this, Since any changes implemented on the P5 by I knew I was in for a treat because there
the quality of the interconnects it supplies this behaviour are completely benign (i.e. they was no need to acclimatise myself to any-
would have me asking my friendly retailer have absolutely no affect on the amplifier’s thing or work my way into the listening ses-
what other interconnects he might have sound quality or its performance or, in fact, sion. Right from the outset it was all just wide
available. The quality is, however, a moot anything that could affect the music playing smiles and toes a-tapping and allowing tracks
point, because Michi provides only unbal- at the time) I didn’t worry about it and just to play right through, rather than switching
anced interconnects, and given the choice regarded it as a quirk. However, if you’re par- to other tracks to evaluate different areas of
between using balanced or unbalanced con- ticularly bothered by it, you could just obscure performance.
nectors to link a pre-amplifier with a power the P5’s IR receiver so it couldn’t receive the The result of all this was that I spent rather
amplifier, I’d choose balanced connectors signal. more time listening to the Michis than I
every time, so that means I’d have to spring Set-up is quite intuitive, so you are unlikely really should have given the time constraints
for balanced interconnects anyway. to have reason to have recourse to either of involved in preparing a review for this issue,
Each component comes with its own the two Owners’ Manuals, but if you do you’ll but there were no complaints from me. If the
remote control, but the two are identical, so be pleased to find that they’re well-written, Michis had been performers, I would would
you can keep one for a spare. The remotes are well-illustrated and highly informative. certainly have been on my feet calling for an
of extremely high quality and very attrac- During set-up please resist the temptation encore.
tive. If only Michi had seen fit to supply to place the P5 on top of the S5, despite the This same high level of performance
high-quality name-brand alkaline (or even obvious physical and visual temptations to do proved true for whatever input I used, be-
lithium) batteries to install in them rather so. Both devices will return better performance cause the Michi P5’s digital and phono stages
than the ones it does provide. I didn’t chance if they’re placed side by side, or one above are truly excellent. If you’re a true vinylista
it, and used my own Eveready batteries in- the other on separate racks of a proper hi-fi you’ll want to use an external phono stage
stead. Why Eveready? Because the company component shelving system. that enables greater precision with cartridge
guarantees that its batteries will not leak, and My review units were obviously relatively matching than the P5’s ‘one input fits all’
a remote control can be ruined by a leaking new, so I made sure to burn them in contin- phono stage, but if you play vinyl only
battery as, to my chagrin, I once discovered. uously for several days using pink noise at irregularly, I think you’ll be more than happy
Both units not only have identical remote relatively high volume to do so, avoiding any with the sound of the phono stage… I cer-
controls, those controls also use identical in- sonic annoyances by wiring one of the two tainly was. I couldn’t fault the digital inputs
fra-red remote codes. This has the advantage speakers out of phase then facing it directly either, whether I used SPDIF or USB. They’re
that the same remote signal turns both units in front of the other loudspeaker so almost so good that there would be absolutely no
on and off, and adjusts display brightness, for everything cancelled out. (If you haven’t ever need to invest in an external DAC unless
example. But in this case it also introduces tried this, it’s not only a great burn-in aid, but you’re one of those audiophiles that actually
a curious quirk so that when you’re using also a great party trick!) likes fiddling with different filter settings and
the remote to tell the P5 to do something, After the long wait I was pretty eager by the oversampling rates. So full marks to Michi
the same remote signal will tell the S5 to do time the listening sessions were scheduled and here as well.
something completely different… which may I’m here to tell you it was well worth the wait. What did I find so enthralling about the
be, for example, to switch the display from The sound was absolutely enthralling, totally sound? Everything really. But overall, I’d
spectrum analysis to VU. realistic and completely captivating. have to say that what’s most impressive is the
totality of the very real and tangible feeling
that a musical event is taking place right
there in your own room. The sonic presenta-
tion is so lively and so true-to-life it will take
your breath away.
And if you’re into trying to achieve true-
to-life listening levels, then the Michi S5 is
amongst those very few amplifiers that will
be able to realise this for you effortlessly,
without stress, without distortion, without
impacting on your mains power bill… and
without its chassis becoming so hot you
need to ruin the ambience by turning on
the air-conditioning. That said, the Michi
S5’s chassis can become warm if you work it
very, very hard, so do give it some room to
breathe, but that said, I found that it runs far
cooler than most amps of its ilk.
‘Massive’ would be the best descriptor for
the bass I heard from this Michi combo, but
it was at the same time delicate and tuneful. I
can think of no better demonstration of these
twin virtues than to suggest that you listen to
the tympani in the second movement of Bee-
thoven’s Ninth, the famous Choral Symphony.

Q Acoustics
Multi-award-winning
speakers for stereo +
home cinema. The best
possible sound quality
at each price
AWARD-WINNING
DESIGN+
SOUND+
VALUE+
Q Acoustics 3010i
Q Acoustics 3050i
Proudly distributed in Australia by
Q Acoustics Concept 500

ON TEST LAB REPORT
Readers interested in a full technical appraisal of

ƧļěƐěƓĳŭƓŠðŢČěŭĳƧļěsŁČļŁ£˜£ƓěðŠƐŗŁǠěƓðŢē
sŁČļŁ®˜®ƧěƓěŭ£ŭǇěƓŠƐŗŁǠěƓƛļŭƯŗēČŭŢƧŁŢƯě
on and read the Laboratory Report published on
the following pages. Readers should note that
the results mentioned in the report, tabulated in
performance charts and/or displayed using graphs
and/or photographs should be construed as apply-
ŁŢĴŭŢŗǍƧŭƧļěƛƐěČŁǠČƛðŠƐŗěƧěƛƧěē̻
LABORATORY
TEST
REPORT
Yes, their sound is impactful, impressive Holly Cole’s Train Song, from her 1995 Tom
and thunderous, but many high-end amplifiers Waits tribute album ‘Temptation’. Although Before going into detail about the results
can do this. What most can’t do is reveal that it’s also a great tester of bass, I prefer to use of Newport Test Labs’ test results, it’s
there’s only two being played, or that they’re the myriad sounds of Cyro Baptista’s tinkly extremely important to note that for the
tuned an octave apart. But using this Michi percussion to evaluate high-frequency repro- purposes of this test, Australian Hi-Fi
duo, I could hear this instantly… and that’s a duction, stereo imaging and, for amplifiers, specified that all tests had to be conduct-
metric I’d call not just revealing, but a revela- channel separation. And what I heard from ed with both the Michi S5 and Michi
tion. But if the Michi’s ability to reveal minutiae the Michis was as good as I’ve ever heard P5 in the ‘test loop’. Therefore there are
in the bass regions is impressive, its ability is from any pre/power combo. Bravo! very few results that can be compared
equally impressive across the midrange... if not with Michi’s own specifications, which
more so. And if you want to check the mid- CONCLUSION are gained by testing the components
range ability of any component, one of the best You need to see the Michi P5 and M5 in the individually, or indeed against the results
albums to use is the one that debuted Chick flesh to see how superbly they’re built. Words from any other audio test laboratory that
Corea on electric keyboard but also has two can’t really begin to describe that. But you has not tested the two amplifiers as a
of my favourites, Joe Farrell and Flora Plurim. also need to hear for yourself how music ‘combo’. This means that, in effect, we’re
Despite being recorded in 1972 (or perhaps that’s played through them sounds, because reporting ‘worst case’ results because for
because of it), the recording is stunningly good, words can’t even begin to describe that… results such as distortion, the distortions
whether it’s Plurim’s rich scat singing or the though if you started off by saying “totally inherent in the Michi S5 are here added
clarity with which Corea’s staggeringly lyrical and completely natural”, you’d be off to a to those of the Michi P5, which obvious-
electric piano playing is revealed, and the very good start. ly does not occur if the components are
Michis revealed everything with crystal clarity. This Michi P5/S5 combo gets it right. tested individually.
On this album, you can really hear how an Really nails it, in fact. If you want good One of the few outcomes that would
amplifier’s ability to deliver air in the midrange looks, insanely high power output, low not change is power output, of course,
aids one’s ability to hear multiple instruments noise, superb performance and, most and Newport Test Labs measured
clearly, no matter how closely they compete importantly, great sound, you’ve arrived at the power output of the Michi S5 at
for space. Whereas I think that many of the your destination. greg borrowman 612-watts per channel (27.8dBw), both
once-revered jazz fusion albums now sound channels driven into 8Ω, when it was
dated, ‘Return to Forever’ sounds as though it delivering a 1kHz test signal. It was also
could have been recorded yesterday. CONTACT DETAILS able to deliver this exact same power
The Michis’ high-frequency performance Brand: Michi when delivering a 20Hz test signal.
didn’t disappoint either. I’m generally a great Model: P5 Control Preamp / S5 Power Amp However, when Newport Test Labs used
fan of Ludovico Einaudi (though perhaps not a 20kHz signal to test power output, the
RRP: $5,999 (P5) / $10,399 (S5)
of his more minimalist stuff) and his album Michi P5’s protection circuitry kicked
Distributor: Interdyn
‘Elements’ from 2015 is one of my favourites in when the output voltage reached 45
Address: Level 1/116 Cremorne Street
for testing the extreme highs, and most particu- volts RMS, which is around 253-watts
Richmond VIC 3121
larly the second track, Night. Just listen to that (24.0dBW) into 8Ω, and around
ethereal opening synth as it loops and then the T: (03) 9426 3600 506-watts (27.0dBW) into 4Ω. The fact
way Einaudi layers all the other sounds over E: info@interdyn.com.au that the protection circuit kicked in was
it. The stabbing piano notes are interjected at W: www.interdyn.com.au not a surprise in itself, because 20kHz is
the perfect moments. It’s a great example of a very high frequency to use for testing
why timing is everything, and why compo- power output, and the power spectrum
• Superb sound
nent-chain timing is crucial for an authentic of music is such the Michi P5’s rated
• Prestige appearance
high-fidelity listening experience. output power (500-watts into 8Ω) would
• Great built-in DAC
Great stereo separation and magnificent ste- never be required at this frequency. But
reo imaging are crucial to tricking the ear and • AES/EBU input because the protection kicked in a little
the brain into imagining the reproduced sound • Display interactivity earlier than we expected, we checked
is ‘live’, and the Michis demonstrated both to • Size and weight with Michi, which told us: “The S5 has
perfection when replaying Canadian chanteuse been engineered and tested for contin-

dBFS dBFS dBFS

0.00 .EWPORT4EST,ABS 0.00 0.00 .EWPORT4EST,ABS
.EWPORT4EST,ABS
-20.00 -20.00 -20.00
-40.00 -40.00 -40.00
-60.00 -60.00 -60.00
-80.00 -80.00 -80.00
-100.00 -100.00 -100.00
-120.00 -120.00 -120.00
-140.00 20000.00 -140.00 0.00 Hz 4000.00 8000.00 16000.00 20000.00 -140.00 0.00 Hz 4000.00 12000.00 16000.00 20000.00
0.00 Hz 4000.00 8000.00 12000.00 16000.00 12000.00 8000.00
'RAPH4($ATK(ZATANOUTPUTOF WATTINTOA OHMNON INDUCTIVELABORATORYTESTLOAD
Graph 1: THD at 1kHz at 1-watt into an 8-ohm non-in- Graph 2: THD at 1kHz at an output of 1-watt into a Graph 3: THD at 1kHz at an output of 20-watts into an
ductive laboratory test load. 4-ohm non-inductive laboratory test load. 8-ohm non-inductive laboratory test load.
dBFS dBFS dBFS
0.00 .EWPORT4EST,ABS 0.00 0.00
.EWPORT4EST,ABS .EWPORT4EST,ABS
-20.00 -20.00 -20.00
-40.00 -40.00 -40.00
-60.00 -60.00 -60.00
-80.00 -80.00 -80.00
-100.00 -100.00 -100.00
-120.00 -120.00 -120.00
-140.00 0.00 Hz 4000.00 8000.00 12000.00 16000.00 20000.00 -140.00 0.00 Hz -140.00 0.00 Hz 6000.00 12000.00 18000.00 24000.00 30000.00
6000.00 12000.00 18000.00 24000.00 30000.00
Graph 4: THD at 1kHz at an output of 20-watts into a Graph 5: CCIF-IMD (19/20kHz 1:1) at an output of 1-watt Graph 6: CCIF-IMD (19/20kHz 1:1) at an output of
4-ohm non-inductive laboratory test load. into an 8-ohm laboratory test load. 20-watts into an 8-ohm laboratory test load.
dBr dBr
dBFS
0.50 18.00 .EWPORT4EST,ABS
.EWPORT4EST,ABS 0.00 .EWPORT4EST,ABS
0.42 15.00
12.00 -20.00
0.33
0.25 9.00
-40.00
0.17 6.00
0.08 3.00
-60.00
0.00 0.00
-3.00 -80.00
-0.08
-0.17 -6.00
-100.00
-0.25 -9.00
-0.33 -12.00
-120.00
-0.42 -15.00
-0.50 -18.00 -140.00 4000.00 8000.00 12000.00 16000.00 20000.00

10.00 Hz 100.00 1000.00 10000.00 10.00 Hz 100.00 1000.00 10000.00 0.00 Hz
Graph 7: Freq. Response into an 8-ohm test load (green Graph 8: Frequency response showing effect of bass Graph 9: THD at 1kHz at an output of 500-watts into an
trace) and into sim. loudspeaker load (black trace) and treble tone controls. 8-ohm non-inductive laboratory test load.
uous power output of 20Hz–20kHz but as output levels that are well above Michi’s 20kHz ±0.18dB, which is self-evidently an
you noticed we have protection circuitry power output specification for both loads. excellent result.
to monitor what is considered abnormal It should also be noted that if Newport The frequency response measured when
operating conditions including short circuit, Test Labs had tested dynamic (short-term) the Michi S5 was driving a test load that sim-
d.c. voltage on the outputs and over-current. power output, the Michi S5 would have ulates the load that would be presented to it
As normal operations would not typically delivered its rated power output, because the by a typical hi-fi loudspeaker system is shown
have a signal of this type (frequency/power) test signal used for this purpose is so short- by the black trace on Graph 7.
we do shut down the unit into protection at term that it would not have triggered the
high power outputs at high frequency. We protection circuitry, but the Australian am-
found it best practice to monitor and use an plifier power measurement standard specifies
abundance of caution with the power output that the power output of high fidelity audio
generated by the S5.” amplifiers must be measured (and stated) on
When Newport Test Labs tested the power a continuous, rather than a dynamic basis. Newport Test Labs
output of the Michi S5 into 4Ω loads, the
same protection circuitry kicked in with
Frequency response is one test that would
certainly be impacted by measuring both
measured the power
20kHz test signals, but the Michi S5 easily the P5 and S5 as a combo, yet as you can see output of the Michi S5
delivered 1052-watts (30.2dBW) per channel
with 1kHz test signals, both channels driven
from the tabulated results, the Michi combo
delivered superlative performance, with New-
at 1kHz as 612-watts
into 4Ω and 1,024-watts (30.1dBW) per chan- port Test Labs measuring a response of 5Hz to per channel (27.8dBw),
nel with 20Hz test signals (both channels
driven into 4Ω). These independent laborato-
480kHz –3dB. The Michi combo’s frequency
response across the audio band, which is both channels driven
ry test results at 1kHz and 20Hz show power shown in Graph 7, was measured as 20Hz to ŁŢƧŭðŢ˟ːŗŭðē̻
LAB REPORT
You can see that it tracks the response

gained with a non-inductive load almost
perfectly, which shows that the Michi S5 will
sound the same no matter what speakers you
connect to it, and will also be able to perfect-
ly control the back-emf from speakers that the Michi combo was delivering 1-watt into
have large bass drivers. Although the Michi an 8Ω load. You can see there’s a second
S5’s damping factor was more than will be re- harmonic component at –95dB (0.00177%)
quired by any speaker system, it’s not overly and a fourth harmonic at –110dB (0.00031%)
high, with Newport Test Labs reporting it as and that’s it: otherwise the noise floor above
DF61, on the back of an output impedance the fundamental is perfectly clean, and also
(at 1kHz) of 0.13Ω. sitting right down at –115dB (referred to
Channel separation was outstanding at one-watt). This is an excellent result, as both
low and midrange frequencies, as shown harmonics are harmonically related to the
in the tabulated results, with the Michi fundamental, which will ensure good sound.
combination returning test results of 105dB Graph 2 shows the total harmonic distor-
at 20Hz and 98dB at 1kHz. The 72dB result at tion measured by Newport Test Labs when
20kHz is excellent, and more than will ever the Michi combo was delivering 1-watt into
be required in order to deliver perfect stereo a 4Ω load. You can see the second harmonic
imaging and separation, but a little shy of component has increased slightly, to –88dB
what I might have expected. However, this (0.00398%), and the fourth to –112dB
could easily have been influenced by where (0.00025%) plus a third harmonic has
the amplifiers were placed on the test bench appeared at –108dB (0.00039%) and a fifth
relative to each other, as well as by the inter- at –113dB (0.00022%). Once again, this is
connects connecting the two, so even-better excellent performance.
results might be achieved under different Graph 3 shows the total harmonic distor-
conditions. The same could be said for the in- tion measured by Newport Test Labs when
ter-channel phase results, even though these, the Michi combo was delivering 20-watts into
too, are really excellent results. an 8Ω load. As you’d have expected given
Channel balance was amazingly good. the increase in power output, additional
Taken merely on its value of 0.019dB, no-one distortion components have been introduced,
would ever have guessed this would be the but the essential structure of the lower-order
result of testing a pre/power combination; components is maintained, with the second
It’s more like you’d get by testing a state-of- harmonic component at –93dB (0.00223%),
the-art stereo power amplifier on its own. the third at –110dB (0.00031%), the fourth at
This is a superb achievement by the engineers –112dB (0.00025%) and the fifth at –115dB
responsible for designing the Michis. (0.00017%). The difference in the visual
Newport Test Labs measured the A-weight- appearance of the graph is due to the noise
ed signal-to-noise ratio of the Michi P5/ floor of the amplifier having dropped down
S5 combination as 76dB referenced to an to around –130dB, which speaks for itself.
output of 1-watt, and 103dB referenced to You can see that the noise that contributed
rated output. The 103dB result is excellent, to the overall result mentioned previously
but further suggests that the result at 1-watt, and tabulated in the results is low-frequency
although good, could be further improved by in nature, as evidenced by the spikes at the
careful component placement and intercon- extreme left of the graph. Graph 4 shows
nect routing. the total harmonic distortion measured by
Graph 1 shows the total harmonic distor- Newport Test Labs when the Michi combo
tion measured by Newport Test Labs when was delivering 20-watts into a 4Ω load.

Essentially the distortion components The tone control action of the Michi P5 more than 120dB down (0.0001%). All these
are the same as when driving an 8Ω load, is shown in Graph 8. You can see the bass distortion components are too low in level to
but interestingly, there’s a slight increase control delivers around 11dB of boost that is be audible, but even if they were, even-order
in the noise floor. This, together with the nicely shelved at 20Hz, then rolls off below distortion is pleasing to the ear, so it wouldn’t
one-watt results, would seem to suggest this, which is excellent design. It delivers be an issue. Note on this graph that the noise
you should prefer 6Ω or 8Ω designs when rather more cut: around 17dB. This same floor right across the audio spectrum is now
choosing loudspeakers to partner with the graph also shows the action of the treble down at –140dB, and even the low-frequency
Michi S5. control, and you can see it offers 9dB of boost noise at the left of the graph, which is higher
CCIF-IMD distortion (19kHz and 20kHz that shelves nicely at 20kHz. Again, this is in level, is still more than 110dB down. Once
test signals at equal levels) into an 8Ω load excellent design. again, excellent performance.
is shown in Graph 5. As you can see, there’s As with the bass control, the treble control Square wave testing using a 100Hz square
nothing to be seen at all. Sensational per- offers rather less high-frequency attenua- wave revealed what the frequency response
formance! Not only are there not any of the tion, but still a more-than-adequate 13dB already showed, with the tilt on the wave-
side-bands around the high-frequency test at 20kHz. If you attenuate both bass and form indicating the Michi combo’s frequency
signals I normally expect to see, there’s also treble you will also reduce the overall volume response rolls off at low frequencies and does
no sign at all of a regenerated difference slightly across the midrange, but this is of not extend to d.c. The slight curvature in the
signal down at 1kHz. no import, as it could be easily corrected by tilt also shows a tiny amount of group delay.
When Newport Test Labs used the same increasing the volume slightly. The overshoot on the leading edge shows that
CCIF-IMD test signal, but increased the The Michi combo’s distortion at the S5’s there is a rise in the Michi’s frequency response
power output to 20-watts (Graph 6), both rated power output (500-watts per channel at an ultrasonic frequency. Further investiga-
the side bands and the regenerated signal into 8Ω) is shown in Graph 9. Once again, tion into this by Newport Test Labs revealed
were introduced into the output, but at very Michi’s engineers have excelled themselves, that the rise was 3dB, and that the frequency of
low levels: around –90dB (0.00316%) for with distortion completely under control, the peak was at 302kHz. This is interesting, and
the two primary side bands at 18kHz and such that the second-order component obviously measurable, but will have zero affect
21kHz, and at around –105dB (0.00056%) is at 93dB (0.00223%), all the even-order on the amplifier’s sound quality.
for the regenerated signal. Once again, components are more than 100dB (0.001% The 1kHz square wave shows the same
these are all outstandingly good results. down, and all the odd-order components are h.f. overshoot, and some slight tilt on the
horizontals, so it’s not a perfect result, but
it’s so close to perfect as really doesn’t matter.
sŁČļŁ®˜®ƧěƓěŭ£ŭǇěƓŠƐŗŁǠěƓ͕iðċŭƓðƧŭƓǍ»ěƛƧ¦ěƛƯŗƧƛ͕£ŭǇěƓ The 10kHz square wave’s horizontals are on
the other hand, perfectly flat, and the rise-
ƯƧƐƯƧ
time is super-quick, so if it were not for the
Channel iŭðē͒ː͓ 20Hz 20Hz 1kHz 1kHz 20kHz 20kHz overshoot caused by the high-frequency rise
͒ǇðƧƧƛ͓ ͒ēÚ͓ ͒ǇðƧƧƛ͓ ͒ēÚ͓ ͒ǇðƧƧƛ͓ ͒ēÚ͓ to 302kHz, it would be a perfect result.
Newport Test Labs determines amplifier
1 8ː 612 27.8 630 27.9 253 (Pro) See Copy
stability by placing a 2μF capacitor in parallel
2 8ː 612 27.8 612 27.8 253 (Pro) See Copy with an 8Ω load and driving the amplifier
1 4ː 1056 30.2 1089 30.3 506 (Pro) See Copy into this load using a 1kHz square wave as
the test signal. As you can see from the oscil-
2 4ː 1024 30.1 1052 30.2 506 (Pro) See Copy
logram, the Michi was beautifully behaved,
Note: Figures in the dBW column represent output level in decibels referred to one watt output. with just a quarter wave height overshoot
that was completely damped within three cy-
cles, so I can say that the S5 will be complete-
sŁČļŁ£˜£ƓěðŠƐϽ®˜®ƧěƓěŭ£ŭǇěƓŠƐ͕iðċŭƓðƧŭƓǍ»ěƛƧ¦ěƛƯŗƧƛ
ly stable into even the most highly reactive
Test Measured Result Units/Comment loudspeakers.
Frequency Response @ 1 watt o/p 10Hz – 410kHz –1dB When both units are in standby mode,
they will still draw 2.41-watts from your
Frequency Response @ 1 watt o/p 5Hz – 480kHz –3dB
mains power supply, which is rather higher
Channel Separation (dB) 105dB / 98dB / 72dB (20Hz / 1kHz / 20kHz)
than the Australian Government’s mandate
Channel Balance (Direct/Tone) 0.019 dB @ 1kHz for standby power consumption, but low
Interchannel Phase (Direct) 0.38 / 0.08 / 1.87 degrees ( 20Hz / 1kHz / 20kHz) enough that it would have almost zero effect
THD+N 0.014% / 0.002% @ 1-watt / @ rated output
on your utility bill. When you’re using this
Michi combo to listen to very loud music, the
Signal-to-Noise (unwghted/wghted) 71dB / 76dB dB referred to 1-watt output
two will pull somewhere around 200-watts
Signal-to-Noise (unwghted/wghted) 97dB / 103dB dB referred to rated output from your power supply, which is surprising-
Power Factor +0.627 ly modest considering the S5’s power rating.
Output Impedance ˗̻˘˚ː at 1kHz Combined power factor was measured at
+0.627.
Damping Factor 61 @1kHz
Overall, Newport Test Labs measured
Power Consumption 2.41 / 147 watts (Standby / On)
outstandingly good performance from this
Power Consumption 187 / Not Tested watts at 1-watt / at rated output high-powered, low-distortion pre/power
Mains Voltage Variation during Test 239 – 253 Minimum – Maximum combination. Steve Holding
ON TEST
LUMIN
U1 MINI
NETWORK MUSIC PLAYER
L
umin has not only garnered And when I say ‘much of the same hard- DAC to convert that signal to analogue, then
huge support from audio- ware’, the U1 Mini is a perfect example, be- an amplifier and speakers to reproduce it in
philes right around the world cause it uses almost exactly the same circuitry your listening room.
in the relatively brief time its as the Lumin U1. Indeed the only differences If you don’t use one of the many stream-
components have been avail- between the U1 and the U1 Mini of which I ing music services available (Spotify, Tidal,
able, but it’s also expanded am aware, other than, of course, the size, is Qobuz, etc) I’d recommend you store your
its range dramatically so that that the U1 has a very large external linear music on a dedicated Network Attached Stor-
it now caters for almost all applications and power supply whereas the U1 Mini’s power age device (NAS). If you do this, you should
covers all price-points. supply is a compact switch-mode type that’s have a Media Server enabled, and if you’re
That’s all been made possible largely actually built inside the chassis. using a Lumin U1 Mini, I’d recommend using
because the company behind Lumin is the And of course the chassis itself is also dif- one called MinimServer, not because it’s par-
famous Hong-Kong-based electronics firm ferent, because whereas the full-sized U1 has ticularly good (though it certainly is this) but
Pixel Magic. Lumin’s ‘classic’ chassis, which is CNC-routed because Lumin uses it to develop its software
If you think you’ve heard of it but can’t out of solid aluminium, the chassis of the and therefore it supports all the features of
place the name, it might be because you U1 Mini is simply a sheet of aluminium that’s the U1 Mini. As for the NAS drive itself, there
remember that it developed the world’s been folded and then anodised (in either are lots of very good ones available but again
first Linux-based video processor, or maybe silver or black). That said, it still looks very I’d recommend you use one made by either
because you once owned a MagicTV HDTV classy…but it’s clearly not the same standard QNAP or Synology, firstly because Minim-
receiver (which it designed and built). as Lumin’s premium chassis. Server provides excellent installation support
As for why the company is able to release for both these brands, but also because
new products so rapidly, this is partly because THE EQUIPMENT Lumin itself is able to provide far more exten-
rather than relying on freelance designers Just in case you were wondering, a ‘Network sive and detailed on-line technical support
and external factories Pixel Magic has its own Music Player’ (or an ‘Audiophile Network Mu- when you use either of these two brands.
team of highly-experienced digital engineers, sic Player’, as Lumin calls the U1 Mini) is a The U1 Mini doesn’t come with any
and it builds its Lumin-branded products in device that finds music that’s stored on your form of hardware controller. Lumin instead
its own factory in China. But it’s also in part Home Network or available from a streaming provides an app that you’ll need to load onto
because it uses the same software throughout internet service via your Home Network and either an Apple iPad or iPhone, or onto an
its range, as well as much of the same hard- converts it to a digital signal. That’s pretty Android device (preferably a tablet, because
ware and circuitry. much it. So you still need to use an external the larger screen size makes control easi-

Lumin U1 Mini Network Music Player
er). And when I say you will ‘need’ to load

the app, it’s actually compulsory: you can’t
use the U1 Mini if you don’t have the app
loaded. Having been bitten in the past by an
app-controlled product for which the app
later ‘disappeared’ I am a bit twice-shy about
products that are exclusively app-controlled.
I’d like it better if Lumin had an alternative
control system available.
Getting the U1 Mini up and running
should be dead easy, because it really involves
just connecting it via the Ethernet port on
its rear panel to your home network’s router,
plugging the power cord into a 240V socket
and then starting up the Lumin app. The App
will then automatically detect both the Min-
imServer and the U1 Mini (and your computer
if it’s on the same network, which I’d expect it
would be), after which your music library will
load and you’re in business… always assuming
that you’ve already connected your DAC,
amplifier and speakers, of course!
Connecting a DAC is made pretty easy,
because as you should be able to see from
As I suggested earlier, the The U1 Mini can
connect directly to Spotify and supports Tidal
You can now control
the photo of the Lumin U1 Mini’s rear panel, but what I didn’t mention is that it’s also volume using an
there’s a sextet of them to choose between:
AES/EBU, BNC, RCA, Optical, and two USB.
Roon Ready and supports MQA from TIDAL
and Qobuz... and in high-res too, if that’s
innovative new digital
You might also be able to see from that photo what you’d prefer. volume adjustment
that although all these outputs (along with
the Ethernet jack and the 3-pin mains power
Another feature of the Lumin U1 Mini
(though actually, it’s a feature that’s now
algorithm called Leedh
socket) are fixed directly to the rear panel, the available for all Lumin products) is that you Processing that enables
bit-perfect control
top and sides of the aluminium case overhang can now control volume using an innovative
this panel by 32mm. This means that you new digital volume adjustment algorithm
could, if you wished, place the U1 Mini in called Leedh Processing that was developed
quite an open area yet have no visible wiring by French designer Gilles Millot, of Acoustical
if you ran the wires down into holes cut into Beauty. Leedh Processing allows volume con-
the surface of which it was resting. I rather like trol in the digital domain, prior to conversion
this design, even though it can make the plugs to analogue, without any of the drawbacks can switch the Leedh Processing off: Lumin
a tad difficult to insert. that plague other digital volume controls. doesn’t force it on you.
If anything does go awry, the fact that Gilles claims that his Leedh Processing al- In order to enable super-smooth scrolling
you’re using components recommended by gorithm modifies the digital signal amplitude through your music library, the Lumin App
Lumin will make it really easy for the hi-fi exactly, without any changes to its shape, caches all your album art on your device.
dealer that sold you the U1 Mini to sort things and with absolutely no loss of information, So the larger your music library, the more
out. Of course, if you’re at all bothered by the plus it also uses whole number volume values memory space you’ll need, but the upside of
technology, it would make sense for your hi-fi to maintain audio information integrity this memory consumption is that your album
dealer to install everything you’ll need and during subsequent digital-to-analogue con- art will pop-up on-screen instantly. Also, you
get it up and running for you, after which version. can have up to forty images on-screen, which
you’ll find that using the system to play mu- But if you’re old-school, and would prefer is great for quickly finding an album whose
sic will be as easy as falling off a log. to control volume via analogue means, you name you can’t quite put your finger on.
ON TEST Lumin U1 Mini Network Music Player
And if you can’t visually deal with 40 im- The ‘Filter’ mode is essentially just a The Lumin U1 Mini painted both artists in
ages on-screen at the same time, you can ad- standard Search function. The ‘Find’ mode, their best light, but at the same time allowed
just the actual number that will be displayed on the other hand, steps through your music me to easily differentiate between them, so I
during scrolling all the way down to just the library and finds every instance of whatever was always able to instantly recognise which
one if you wish. word you typed in, so if you search for a of the two was playing.
The Lumin App is fantastically intuitive common word, it can take rather a long time. On Jackson Browne’s ‘Naked Ride Home’,
and easy to use, which is just as well, because There’s probably a better way of searching via the drummer’s obvious passion for his cym-
there is no manual for it, nor is there one for the App, but I couldn’t find it and, like I said, bals means there’s a surfeit of high-frequency
the Lumin U1 Mini itself. Despite this ease of there’s no manual to consult. energy, yet the Lumin U1 Mini was still able
installation, and ease of use, I’d personally still Once you start playing an album, you to let me hear the wind chimes behind,
like to have manuals for both please. But per- won’t fail to be impressed by the sound which it reproduced with life-like clarity, deli-
haps now it’s me that’s being too old-school. quality from the Lumin U1 Mini. On Sarah cacy and realistic harmonics and decay.
Basically, there isn’t much that you can’t Brightman’s album ‘Harem’, for example, I
do with the Lumin App. You can arrange have found that if the digital conversion is CONCLUSION
your music library by album title, track title, not handled properly, it’s very easy to think The Lumin U1 Network Music Player retails
artist, composer, genre, and lots more. You that she’s singing “Hold my hand, I’m a for $9,900. The Lumin U1 Mini Network
can even order your library by the date and strange-looking parasite” when in fact the Music Player retails for $3,290.
time you added the particular piece of music line is actually “Hold my hand, I’m a stranger Need I say more? Kenneth Zhang
if you want. You can also use the app to edit in paradise.” As rendered by the Lumin U1
track or album information. Indeed it might Mini, there was never any shadow of a doubt CONTACT DETAILS
be the problem of explaining the myriad what she was singing: the reproduction… and
things that you can do with the app that diction… were absolutely perfect. Brand: Lumin
made Lumin baulk at writing a manual for it When I played the late Eva Cassidy’s ‘Eva Model: U1 Mini
in the first place. It’d be a difficult task. By Heart’ via the Lumin U1 Mini, the sound RRP: $3,290
As you’d expect, you can get the Lumin of Eva’s guitar seemed more authentically Warranty: Two Years
app to search through your library for you for natural than I have previously heard it sound, Distributor: Audio Magic Pty Ltd
a particular work or works, with the Lumin and the U1 Mini was absolutely ruthless in Address: 23/22 French Avenue
App offering two methods of doing this: exposing the differences in sonic quality be- Northcote VIC 3070
‘Find’ and ‘Filter’. tween the keyboard cellos and Dan Cassidy’s
T: (03) 9489 5122
live violin.
W: www.audiomagic.com.au
But the bass… oh the bass! The Lumin
U1 Mini reproduced the very deepest organ
notes pitch-perfectly and with true authority. • Superb execution
Further up in the spectrum I found the sound • Flawless sound
of kick-drum was similarly impressive, always • Fantastic app
You won’t fail to be hearing an instant transient, with no pre-
• No user manual for
echo, and the sound never lasted longer than
ŁŠƐƓěƛƛěēċǍƧļě the strike. I assessed the tonal quality of the
device or app
• Exclusively app-controlled
sound quality from bass and low mids using cello works, mostly
Bach’s Cello Suites, which I own as performed
• uŭƧðƛǡðƛļðƛŭƧļěƓiƯŠŁŢƛ
ƧļěiƯŠŁŢÂ˘sŁŢŁ̻ by both Pablo Casals and Yo Yo Ma.

The Newsletter of Len Wallis Audio Spring 2020
Sonus faber
IL CREMONESE Ex3me
One of only
50 in the
world and
we have it
in-store!
Legendary British Brand

Gigantic and Tremendous! reborn and renewed!
Yamaha’s eye-turning GT-5000
lenwallisaudio.com
1
(02) 9427 6755 /lenwallisaudio
AVA IL A B LE FR OM
Marantz CR612
A true Hi-Fi System in an elegant design featuring CD playback, DAB+,
and modern music streaming sources with HEOS built-in.
The elegant Marantz MELODY CR612 network CD receiver supports near limitless streaming
platforms through AirPlay 2, Bluetooth and HEOS connectivity. The built-in disc player is
compatible with music CDs, CD-R/CD-RW discs, and is equipped with DAB+ and FM tuners.
Use your voice to control the MELODY CR612 with Amazon Alexa,
Google Assistant or Apple Siri for seamless ease of use.
www.marantz.com.au
Like /lenwallisaudio on Facebook
Inside...
04 From The Desk Of Len 19 Auralic upgrades Aries
The surprises sprung by G2.1 and takes wireless
08 Covid-19, and the perils. streaming to a whole new

performance level.
06 Yamaha’s latest
integrated amplifiers 20 The best-selling
Are they over-engineered, Australian speaker in
or under-priced… or both? history now has a lower-
priced sibling!
08 A grand installation
story, or should that be 22 Limited Edition
a Focal Grande installation Technics SL-1210GAE
story? turntable. Be quick… only
two are left out of seven.
10 New for old. Trade back
14 your old soundbar to enjoy
one of B&O’s best!
24 Running-out Ruark’s R4
and demoing Inakustik’s
newest Micro Air cables.
11a Save $1,000 on a PS
Audio Stellar Power Plant 3. 26 Sonos Arc: A totally new
and completely awesome
11b Prima Luna’s Evo 300 way to improve TV sound.
is in-store, all the way from
Norway. 27 A TV screen as thin as a
framed painting?
12 B&W 700 S2 Signature LG’s Gallery Series is here.
Upgraded, and with a
unique, exclusive veneer. 28 French chic! Triangle’s
16 14 Only 50 pairs in the
budget-priced Borea
speakers are the new
world and we have hottest act in town.
one of them in-store!
Introducing the Sonus faber 29a A Five-Star review from
Il Cremonese Ex3me. What Hi-Fi? magazine for
Rega’s new io integrated.
16 Legendary LEAK amp is
back – brand-new, but in 29b Meze Audio Empyrean
old-fashioned livery! ’phones are now available in
two glorious new finishes!
17a Bonus $450 Inakustik
interconnect on offer! 30 A Free B&W Audio with
26 17b Musical Fidelity Win
every B&W Duo, plus a free
subscription to ROON.
M8xi wins EISA Award!
31 Award-winning audio
18 Two real streamers! accessories. Do your
NAD M10 and C658 BluOs. Christmas shopping early!
64 Burns Bay Road, Lane Cove NSW 2066

Telephone 02 9427 6755 sales@lenwallisaudio.com.au
TRADING HOURS Monday Tuesday Wednesday Friday: 9 to 5.30
Thursday: 9 to 8; Saturday: 9 to 5; Sunday: closed 3
THE LATEST IS ONLINE! – www.lenwallisaudio.com
COMMENT
FROM THE DESK OF LEN WALLIS
T
hese are very uncertain times accordingly, but due to people being of – and some of the best – speakers on
that we are navigating, and at isolated at home this did not happen and the market, everyone has chosen, for their
the time of writing I have no demand quickly outstripped supply. individual reasons, different products.
idea what the situation will At the same time factories around Every one of our staff members could post
be by the time you read this. What I the world closed, and when they did an honest and compelling article as to
do know is that it will take a long time re-open, in many instances they did so why you should purchase their personal
to return to some sense of normality, with reduced manufacturing capacity. To choice. So how do you make a decision?
whatever that may be. In the meanwhile, add further fuel to the fire, shipping has The only way is to listen for yourself.
all of us at Len Wallis Audio hope that become extremely difficult and expensive I could wax lyrical about my favourite
you and your loved ones are safe and because of the pandemic. The result of audio products, but this does not mean
healthy. all this is that we are anticipating stock they are right for you. On many occasions
There is no doubt that the impact of shortages, in some cases severe, for the I have taken highly-rated and well-
this pandemic will be felt for some time. rest of this calendar year. reviewed products home, only to find that
Thankfully at this stage we have been One of the inevitable consequences of they did not suit my needs at all.
able to stay open, and we hope that this the situation is the gravitation to on-line I know that this is not the best time to
remains to be the case. shopping. While this has many benefits, be out shopping, but your choice of audio
One of the immediate issues that it also has its downsides. A quick poll equipment is something that should last
we are facing is stock shortages. When among our twenty-plus staff showed for many years to come. Give yourself
the pandemic broke most distributors that no two people in our organization the best opportunity to get it right and
anticipated that demand would fall have the same speakers in their system. audition for yourself.
and reduced orders with manufacturers So despite having access to a vast array And listen with your heart.
04
YAMAHA
A-S1200: Rated at 90 watts/channel

into 8Ω: $3,499.

06
YAMAHA
A-S2200: Rated at 90 watts/channel

A-S3200: Rated at into 8Ω: $4,995
100 watts/channel
into 8Ω: $9,995
NEW FOR YAMAHA

O
ne of the most respected Yamaha have recently upgraded In this environment of building down
companies in this industry their Premium Series integrated stereo to a price and disposable hi-fi we don’t
is Yamaha. While known amplifiers – three new models in all. see how you can ‘over-engineer’ a product
primarily for producing well- There are no groundbreaking or ‘black- unless it is meant to imply that these
made competitively-priced products, magic’ technologies employed with these components are overpriced compared to
particularly their A/V receivers, in recent amplifiers. These are traditional, basic the opposition, and they are not; or if they
years they have also produced some designs that have been superbly applied don’t sound as good as they look, and
extremely high-performance components. and magnificently engineered, resulting they do. You can be assured that very few
They have proven that they are not in some of the best-sounding amplifiers companies in our industry manufacture
afraid of mixing it with the exotics of our on the market. We have seen the criticism components to this level of detail.
industry and have more than held their of ‘over-engineered’ being levelled at
own. these models.
Yamaha have also released a high-

level turntable, the GT-5000. This is a
substantial unit, as it weighs in at over
26kg and has a 5kg platter.
The ‘GT’ in the model number stands
for ‘Gigantic and Tremendous!’ (although
SoundStage changed this to ‘Gorgeous
and Tuneful’ in their review).
Yamaha’s GT-5000 is belt-driven and
utilises a unique short straight tone arm –
less than 230mm in length, whose height
is completely adjustable. This turntable is
also unique in that it offers both balanced
and unbalanced outputs. This is a very
serious unit – and a very bold statement
from Yamaha.
The Yamaha GT-5000 sells for $12,995
and comes with a 10 year warranty.
07
MERIDIAN CUSTOM INSTALLATION
Meridian Custom Installation

A
long-time client of Len The task was then set to find a suitable For this project, Jono specified four
Wallis Audio had recently electronics package to complement these (4) of these 857 amplifiers, two (2)
purchased a substantial new amazing loudspeakers. per speaker in a bridged, bi-amplified
home in one of Sydney’s Len Wallis Audio have had extensive configuration.
most prestigious suburbs. An avid music experience with many high-end amplifier It was decided that ROON would
and technology lover, he has a very good packages driving these speakers in the handle the music management with TIDAL
understanding of the high-level, luxury past; being one of the few companies to streaming and locally stored hi-res music
offerings in the marketplace. feature multiple pairs in their showrooms being the primary sources. Control of the
Len Wallis Audio had completed a for demonstrations. The theory behind entire system from an App was considered
reference ‘Focal Utopia’ immersive cinema this particular system design was simple: to be crucial to ensure ease-of-use for this
installation in his previous home; so the Apply more than enough clean power to client. In addition, a customised ROON
client had experience with the Focal brand ensure the speakers could perform at their ‘Rock’ music player was built to handle the
and their expertise. He had always wanted optimum output. supply and storage of the lossless music.
a pair of this French company’s flagship An avid fan of Meridian Audio, Len Meridian Audio are pioneers when it
Grande Utopia speakers. Wallis Audio’s Senior Custom Consultant, comes to digital music reproduction. A
When the recent EM Evo series were Jono Dorset, knew of such an amplification Meridian 818v3 Reference Audio Core
announced and the new home was package, one that was more than capable was selected as the processor, DAC and
purchased, the time was right. Len Wallis of delivering immense power and clarity. ROON end-point. This was done to ensure
Audio sourced the only pair of Grande Enter the Meridian Reference 857 two- maximum flexibility with the system and
Utopias available in Australia at that channel power amplifiers, offering around to allow for a statement turntable to be
time, presented in striking metallic blue. 1,500-watts when bridged. added in the future.

08
MERIDIAN CUSTOM INSTALLATION
The Meridian 818’s host of digital and

analogue inputs make it perfect for this.
Jono’s extensive experience with the
818v3’s MQA decoding capabilities and
the extended bandwidth 857 amplifier
made for easy choices. This design
ensured the highest resolution available
into the speakers and is ideal for high-
performance two-channel systems.
With the core componentry chosen,
it was then necessary to carefully select
the cabling and accessories required to
complement these products and ensure as
little signal degradation as possible.
Jono chose German manufacturer
InAkustik’s high-end hand-made ‘AIR’
cabling technology for every interconnect.
This was complemented by Isotek power
cabling and filtration to ensure clean
power from the grid. The entire solution
is housed in a pair of customised SGR
Signature V racks which feature advanced
isolation techniques. impedance curve information with them, beyond the capabilities of human hearing.
upon which they confirmed that their Jono provides the final confirmation:
Challenges 857s would be the perfect choice to drive “I have now listened to many favourite
One of the challenges with a system of Focal’s Grande Utopias. tracks and been delighted to discover
this size is managing logistics. When As a result Jono commented, “I have details that have never been reproduced
delivered, there was over a metric tonne of no doubt of the 857s’ high resolution by other systems. The sound stage is wide,
equipment that had to be carefully moved fidelity as I have now specified them on deep and enveloping. Experiencing music
into position in the home, so extreme care numerous systems and have witnessed with this level of focus is an absolute
and planning was needed through the first-hand the effortless power that treat. It is however, unforgiving with poor
installation phase. they’re capable of, with even the most quality recordings and files… it is just so
Another unique challenge with a demanding speakers.” highly revealing of the music!”
system of this scale is that clients have Jono continues: “This is the first time I
often not envisaged just how large the have spoken to the Meridian Design and
speakers are going to look in their space. Specification Service regarding a two- PRODUCTS
Although scale drawings of the room can channel system, though I have worked
• Focal Grande Utopia EM Evo –
give some indication, there is still some closely with them on a number of cinema Metallic Blue
uncertainty as to how a client will feel designs in the past, and once again, the • Meridian 818v3 Reference Audio Core
on that all-important first walk into the clear, concise and honest feedback on my • Meridian 857 2ch
room… thankfully, he loved them! system proposal gave me the confidence Power Amplifier (×4)
When pulling together an ultra-high to sign off on the design.” • InAkustik – Referenz LS2404 AIR
specification system like this, it’s important Speaker Cable
to have confidence from the manufacturer SUCCESS! • InAkustik – Referenz NF1204 AIR
that the equipment is going to be able to The system has effortless performance Balanced Interconnects
deliver. The impedance curve is particularly and the sheer power behind the speakers • InAkustik – Referenz Network Cable
demanding on these speakers, so Jono provides exceptional dynamics. The bass • IsoTek – EVO3 Sirius Power Filtration
wanted to ensure that the amps wouldn’t response from the 16-inch electromagnetic • IsoTek – EVO3 Premier Power Cables
be breaking into a sweat when the client drivers is particularly strong, with proper • ROON ‘Rock’ - customised music player
was using the full capabilities of the full-range extension. The Focal drivers • SGR Model V Signature – Isolated
system. Jono consulted with the technical and tweeter have amazing detail and are Racking Solution
team at Meridian and shared the speaker able to deliver frequencies that extend far
09
B&O
B&O: Stage Soundbar Upgrade Offer
T
he use of soundbars is now performance it is also very well priced. Until the end of September Len Wallis
commonplace. The space There are three different finishes and Audio is offering a trade-back to the value
limitations inside most TV screens two different price points, depending on of 20% on all three B&O models (i.e. $500
are so severe that it is impossible your selection. or $700 depending on the model) on your
to install speakers inside them that are of The Silver Frame with Black Fabric existing soundbar, irrespective of its brand,
good quality, which severely affects the Grille or the Bronze Frame with Taupe quality, or condition.
intelligibility of the spoken word. Fabric Grille both have a recommended Trade back your existing soundbar on
A common solution has been to retail price of $2,500, OR you can select either of the Silver Framed and Bronze
add a soundbar, but the soundbar the Natural Oak Wood Frame and Grey Framed models and pay only $2,000 or
market has become so competitive that fabric grille by KVADRAT which has a for the Natural Oak Framed model, trade
the downward pressures on price has recommended retail price of $3,500. back your existing soundbar and pay only
resulted in many soundbars performing $2,800.
little better than the televisions they are Silver Frame with Black
connected to. Fabric grille $2,500
One of the best soundbars around Bronze Frame with Taupe
is the ‘Stage’ by B&O. It also has the Fabric grille $2,500
advantage of being one of the most Natural Oak Frame with
attractive, and despite its heritage and Grey Fabric cover $3,500

10
PS AUDIO / PRIMA LUNA
PS Audio
Save $1,000 on a Stellar Power Plant 3
O
ur industry has been aware perfect AC sine wave, in the process Key benefits include:
of the many advantages of eliminating all noise and all distortion and Immediate and noticeable improvement
treating the incoming 240- at the same time also ensuring a perfectly in sound quality.
volt power supply for a long steady 240-volt power delivery. Protection for all your equipment from
time now, and one of the leaders in the The Stellare PP3 has three independent voltage dips, spikes, electrical noise and
field is PS Audio. 240V power outputs that deliver 300 distorted waveforms.
Their Stellar Power Plant 3 is a power watts of pure re-generated power, We are currently offering the Stellar
regenerator. It takes the incoming mains 500 watts of short term power and an Power Plant 3 for $2,995 – a saving of
voltage, the waveform of which is nearly impressive 900 watts for short term $1,000 on retail.
always distorted, and rebuilds it into a dynamics (up to 30 seconds).
Prima Luna
Evo 300 integrated

valve amplifier
In a previous newsletter we mentioned the
new range from Prima Luna, the valve amplifier
manufacturer out of Norway. Since then we have
added the Evo 300 integrated amplifier.
This amplifier has an output power of 42-watts
per channel in its Ultra-Linear mode and an output
power of 24-watts per channel in Triode mode.
The Evo 300 has five (5) stereo inputs plus a
Home Theatre bypass. There is also a dedicated
phono stage that can be added for an additional
$355. Evo 300: $5,895
11
BOWERS & WILKINS
12
BOWERS & WILKINS
Bowers & Wilkins

New 700 S2
Signature Series
B
&W have taken two of their very
popular ‘700 S2’ series speakers, the
705 S2 bookshelf and the 702 S2 floor-
standing speakers and upgraded both
the finish and the crossover, to create ‘Signature’
versions. This series features Datuk Gloss Ebony-
coloured timber veneer cabinets with a distinctive
grain sourced from renowned Italian timber
supplier Alpi.
The speakers blend a new crossover design
with ideas and technologies first conceived and
developed for B&W’s 800 Diamond Series product
line, including a solid-body tweeter-on-top design,
Continuum midrange drivers, and Aerofoil Profile
bass drivers.
The Bowers & Wilkins 705 S2 Signature stand-
mount speakers are a two-way design fitted with
25mm carbon dome tweeters and 165mm mid/
bass cones in a vented enclosure. Available now,
they retail for $4,995/ pair.
B&W’s 702 S2 Signature floor-standers are a
three-way design with the same 25mm tweeter,
a 150mm FST midrange driver, and three 165mm
Aerofoil Profile bass drivers in a vented enclosure.
The cabinets for both 700-series Signature
speakers are wrapped in an Ebony-coloured
wood veneer sourced from Alpi, an Italian wood
company that follows sustainable harvesting
practices. B&W applies nine coats of finish to the
cabinets, including a primer, a base coat, and
final coats of clear lacquer. Bright metal trim rings
surround the mid/bass (on the 702) and midrange
cones (on the 705) to provide a visual accent, and
the tweeters have silver-finished grilles.
A unique “Signature” identity plate is fastened
to the rear of each speaker.
705 S2 Signature: $4,995/pair – plus stands

702 S2 Signature: $8,500/pair

13
SONUS FABER

14
SONUS FABER
Sonus faber
Il Cremonese Ex3me
T
he Il Cremonese is one of the Len Wallis Audio is proud to say that we Sonus faber for several months this is the
best-known and most respected have secured one pair of these speakers. first time that we have had the opportunity
speakers in all the Sonus faber They are selling for $84,995, $10,000 more to put this model on the floor. This delay
range. Named as a tribute to than the price of the standard model. This was unfortunate as it’s one of their most
Antonio Stradivari’s most famous violin, would be your opportunity to secure a true, highly-regarded offerings, but the wait has
this loudspeaker represents a musical piece and never to be repeated, classic. been worth it. We have fallen in love with
in its own right. Like the instrument it was both the build quality and the performance
named after, Sonus faber’s goal in creating Sonus faber Amati Tradition of the Sonus faber range – and this model is
the Il Cremonese was that its sound would Another addition to our line-up of Sonus a stand-out in both respects.
be absolutely neutral – and many would faber is the Amati Tradition. Despite carrying Amati Tradition: $45,000/pair
agree that they have been successful in
this goal. Jules Coleman’s review on Enjoy
the Music.com commented ‘Sonus faber’s
Il Cremonese speakers tell a story, and the
more you listen, the more you not only
get lost in the music, but the more you
also appreciate and admire both the story
itself and the telling of it.’ The goal of any
good speaker should be to connect you
with and involve you in the music, and not
to distract you with certain parts of the
music or indeed the system itself. (If you
have the inclination – and the time, it is
a long article – I would suggest you read
this review. It not only covers the speaker
itself, but also what Jules says he looks for
in a loudspeaker).
Deon Schoeman, in his Audio Video
review simply said ‘Always truthful,
always musically satisfying and built to
exceptional standards of craftsmanship,
the Sonus faber Il Cremonese is a
remarkable loudspeaker. Would Antonio
Stradivari approve? I think so…’
Sonus faber has a history of producing
limited versions of some of their better-
known products and have done just that
with the Il Cremonese – releasing just
50 pairs worldwide of the Il Cremonese
Ex3me, which, among other technical
upgrades, includes a return (appropriately)
to the historical Sonus faber finish known
as ‘Red Violin’.
15
LEAK
Legendary LEAK Revived!

I
n recent times there has been a players, computers, network streamers, To complete the package LEAK have also
growing market for vintage audio with TVs and more. The Stereo 130 also allows released a matching CD transport – LEAK’s
equipment in good condition from the you to stream music from your phone, first foray into optical disc technology.
60s and 70s bringing big dollars. This tablet or music player over aptX Bluetooth. The LEAK CDT CD Transport is, as the name
has dovetailed nicely with, and is possibly It also sports a high-quality headphone implies, a transport only. Given the fact
even driven by, the continuing resurgence amplifier and, surprisingly in this day and that most amplifiers today have excellent
in the popularity of vinyl. age, bass and treble controls. DACs on-board it surprises us that more
One of the legends of that era was The most distinctive aspect of this companies have not gone down this path.
LEAK, a British company formed in 1934. amplifier, however, is its appearance, which This unit features a slot-loading mechanism
The LEAK Delta 30 and Delta 70, both is a throw-back to the designs of old. and uses a read-ahead digital buffer to
released in the early 1970s, were classic Despite the modern advanced technologies reduce disc-reading failures.
amplifiers of their day and are still sought- used inside it, this amplifier looks like it LEAK Stereo 130: $1,999
after by enthusiasts. comes straight out of the 1960s. LEAK CDT: $1,399
After a hiatus of 40+ years LEAK has
released a new amplifier and for the first
time, a CD transport. The LEAK Stereo 130
amplifier is based on their Stereo 30 amp,
released in 1963, which was the world’s
first commercially-based all-transistor
amplifier. However, this is a very modern
design incorporating the very best of
British technology. As expected it features
a high-performance phono stage, while
analogue line-level inputs and optical,
coaxial and asynchronous USB digital
connections accommodate external CD

16
MUSICAL FIDELITY
Musical Fidelity: $450 Bonus Offer

W
hen Musical Fidelity amplifier and M2SCD CD player sell for and you may be surprised at how good
released their ‘M2’ $2,000 each. For a short time Musical this amplifier/CD player combination is.
amplifier and CD player Fidelity will be including a $450 Inakustik Any quality system should involve you in
and broke new ground NF-803 RCA interconnect with each your music, whatever your genre of choice.
by taking their legendary sound to a new combination sold. Inakustik has quickly Unfortunately, most do not! Here is the
lower-priced market, they did so not established itself as one of the finest cable opportunity to put together such a system
by sacrificing any performance, but by brands available and is an obvious pairing at an affordable price.
stripping out a little functionality. with Musical Fidelity. The Musical Fidelity M2 combination is
The Musical Fidelity M2si integrated Simply add a suitable pair of speakers available in silver or black.
We said it
was good!
When we first heard the Musical
Fidelity M8xi we were more than
impressed. Given that this is a $12,000
integrated amplifier I guess that this was
to be expected – but then again that is not
always the case.
It appears that we are not alone: the
Musical Fidelity M8xi has just been named
the EISA High-End Integrated Amplifier of
the Year (2020-2021). totally new MF product to be released of this breed. Rated at 550-watts/channel
The EISA Awards are recognised as the by the current owners – Audio Tuning, a it is effectively a separate pre-amp, DAC
most prestigious awards in our industry. company that is based in Austria. and two mono-blocks in the same chassis
EISA is a unique association comprised of This was a VERY impressive debut! – all with their own power supplies. This is
56 specialist magazines across 29 Musical Fidelity has a long history not only arguably the best integrated amp
countries – so there is a lot of credibility of manufacturing high-performance in the world, it will rival many separate
here! The M8xi was an important release integrated amplifiers, commencing with pre-power amplifiers costing considerably
for Musical Fidelity – it was the first the A1000 in 1990. The M8xi is the latest more than the $12,000 asking price.
17
NAD
NA D
NAD M10
of interior design, the availability of
streaming services that reduces the
number of components necessary in
Streaming Amp a system and most importantly by the

increasing abilities of companies to
squeeze exceptional performance from
A
s much as we may be While there is (thankfully) still plenty of ever-smaller-sized components.
drawn to the biggest pair of life in the likes of Sonus faber Reference Famous brands such as Naim Audio,
speakers in the showroom, or speakers and Krell electronics there is also Auralic, Devialet and Chord have been
the largest, shiniest piece of a marked move towards high-performance producing well-made, high-performance
electronics, as an industry we recognise yet discrete systems. It’s a move that is electronics with small footprints for many
that things are changing. driven by an ever-increasing awareness years now.
NAD C658 BluOs C658 has a lot to offer. First and foremost, control app.
Streaming DAC it is a sterling performer, as we have stated

elsewhere not all streamers are created
The other advantage of BluOs is that it
is the backbone of BlueSound, meaning
The NAD C658 BluOs Streaming DAC equal. Just as important is the interface, that if you want to develop a multi-room
sits beautifully between the budget which is excellent. Irrespective of how wireless streaming system this is a great
streamers from the likes of Sonos, Heos good a component is, it’s next to worthless start – simply add additional BlueSound
and BlueStream and the hi-end offerings if it is difficult to operate. One of the big wireless speakers to the NAD C658.
from such companies as Auralic. Despite drawcards for BluOs (which is embedded The NAD C658 is a high-res player, and
being relatively inexpensive ($2,599) NAD’s in the NAD C658) has been their excellent is Roon enabled, opening up access to
MQA recorded tracks. It is the first NAD
component to feature Dirac Live room
correction, a circuit that allows you to
calibrate your system to work best in the
unique acoustics of your room.
The C658 can also operate as a basic
pre-amplifier – it even has a phono input!
– plus a subwoofer out and a headphone
socket.

18
AURALIC
Speaker companies have been going

down the same path as well, with
companies such as Serhan & Swift and
Bowers & Wilkins getting exceptional
performance out of small boxes.
One of the best examples of this is
the NAD M10 streaming amplifier. This
is a very compact piece of kit measuring
210mm wide, 100mm high and 260mm
deep. It is rated at 100-watts/channel, and
before we get into what this product can
do we need to establish that it is a very
Auralic: Aries G2.1
fine performer. It may not compete with
the likes of Krell – but it will stand up to
anything in its price category – and you
Music Streamer
A
can’t ask for much more than that. uralic have updated their When used as a ripper, Lightning’s
As you would have gathered, this is a excellent Aries G2 wireless CD function reads each disk sector
streaming amplifier capable of handling Streaming Transporter. several times to ensure data accuracy,
Hi-Res files. It has Bluetooth and Apple The biggest change before saving to memory, to ensure
AirPlay2 and is controlled by BluOs involves the chassis, with the G2.1 now completely jitter-free sound that bests the
through one of the best apps in the equipped with a “Unity Chassis II” where performance of other, far higher-priced,
game – or via the touch screen on its front there are two separate chassis, one inside stand-alone CD players.
panel. It has an ARC-enabled HDMI input the other, underneath which is a new Auralic has also added unique sprung
to connect your TV (‘way better than a heavy metal base. The external chassis is feet, each one of which has six separate
soundbar), and the BluOs system will allow aluminium, the internal chassis is copper. coil springs tuned to different resonance
you to add speakers throughout your This design enhances EMI shielding, frequencies. These effectively absorb
entire house to create a wireless whole-of- providing an audible improvement to potentially harmful vibrations, delivering
home entertainment system. performance, while the substantial greater sound clarity and a more open
If we listed here all the capabilities base adds overall mass to the product sound field.
and features of the M10 it would be an and further builds on Auralic’s modest The original Auralic Aries G2 streamer
exceptionally long list indeed, so we would elegance and improves the sound of the was already considered to be one of the
instead suggest that you explore its many product overall. finest units of its class on the market,
attributes further on our website. Auralic has also added CD player/ but with the new Aries G2.1 Auralic
It obviously does what it does well ripping functionality, using Lightning have managed to take it to another level.
though, as the NAD M10 has so far been OS7.0. You can now connect an external If ever you needed convincing that all
the winner of the following Awards: CD drive via USB to play CDs or rip streamers are not created equal, drop
• AVForums Product of the Year, 2019 them for storage. in and have a listen to this unit.
• EISA Best Product (Smart Amplifier Aries G2.1: $7,295
Category)
• StereoNet Applause Award 2019
• AVTech Media Best Hi-Fi One Box
Solution 2019/20
• DARko product of the Year 2019
• SoundStage Product of the Year 2019
…and counting.
The NAD M10 retails for $4,495 and,

given its many qualities, represents
excellent value. Combine it with a
quality pair of bookshelf speakers
from B&W, Sonus faber or Triangle
and you will have a versatile, compact,
high-quality system at a realistic price.
19
RICHTER
Richter:
Harlequin
S6 Speakers
R
ichter is one of the most which becomes even more impressive Above: The new Richter Harlequin S6
successful Australian brands when you find it retails for only $1,599). floor-standers sell for $1,899 pr.
in this industry. The company Richter’s current speaker range is very Below: Richter’s award-winning
was formed in 1986 and focused (three models of speakers plus Thor 10.6 subwoofer sells for $1,599.
went on to produce what is reputably a subwoofer), and the work that has
the best-selling speaker in Australian gone into bringing this range to market
history – the Richter Wizard – which is obvious. Richter’s latest release fills the
has undergone numerous variations gap between their bookshelf Merlin S6
throughout the ensuing decades. and their Wizard S6, both of which have
In 1991 Richter was named ‘Small been on the market for some months.
Business of the Year’ and ‘Manufacturer As the name implies, this series is the
of the Year’ in the NSW Small Business sixth generation of this legendary range.
Awards and its speakers have won The Harlequin S6 is a two-way floor-
a great many ‘Speaker of the Year’ standing design with a neodymium-
awards. Richter’s Merlin S6 is the current powered 25mm soft-dome tweeter and
holder of Sound+Image Magazine’s a 165mm mid/bass driver. Although
award for ‘Loudspeaker of the Year the Harlequin S6 is currently available
$500–$1,000’, plus its Thor 10.6 only in black, Richter says it will soon
subwoofer was awarded ‘Subwoofer of be building Walnut models in limited
the Year below $5,000’ (an achievement quantities.

20
TECHNICS
Technics: Limited Edition

SL-1210GAE Turntable
T
echnics have a long and 1200G, which is the premium Technics The SL-1210GAE is hand-made in
enviable history of producing turntable available on the local market. Japan by skilled artisans to ensure the
quality turntables. They recently The upgrades include: highest quality possible. The top panel
announced the release of the The top panel sports a meticulously features a special badge, inscribed with a
SL-1210GAE – their 55th Year Anniversary anodised black brushed hairline finish. unique serial number to signify that it is a
Edition model. Production is limited to In addition, the operation buttons and 55th anniversary model.
1,000 units worldwide. Australia will be tonearm also employ a high-quality black The specially-developed zinc insulator
receiving only 40 turntables. finish that results in a uniform, premium feet feature ĮGEL™, a soft gel-like
This model is based on the current SL- appearance. material with excellent shock-absorbing

22
TECHNICS
properties, the same feet that are also

used on Technics’ highly-acclaimed,
‘flagship’ SL-1000R reference turntable
(not available in Australia). The high-
density zinc die-cast housing offers
superb vibration damping characteristics
and excellent long-term reliability.
The new high-performance insulators
effectively isolate the turntable from
external vibrations, ensuring completely
undisturbed music reproduction whilst
Of the 40 Limited Edition SL-1210GAE turntables coming into
preserving every fine nuance and detail Australia, Len Wallis Audio has been able to secure seven,
within the musical signal. with the final shipment arriving in September – however at
The strobe light can now be turned off
as required, allowing the listener to simply the time of writing we have already pre-sold five!
concentrate on the music, especially in a Be sure to take advantage of this very limited opportunity to
dimmed environment.
secure a piece of hi-fi history: a magnificent turntable that is
The best news is that this limited-
edition turntable is offered at the surely destined to become a classic!
same price as the existing SL-1200G,
i.e. $6,995.
23
RUARK / INAKUSTIK
RUARK R4 DESK-TOP SYSTEM

SPECIAL RUN-OUT DEAL
T
he Ruark R4 desk-top
system is soon going to be
superseded and as a result
we have been running
out our remaining stock at a very
attractive price.
The Ruark R4 is a very complete
and comprehensive hi-fi system
that is presented in a small and
very attractive package. The system
includes CD, both DAB+ and FM
radio tuners, plus you can stream
music to it via Bluetooth from a
phone or tablet. It even has a clock
with an alarm. Designed in the UK,
it is not only an attractive system,
but also a surprisingly good-
sounding one that is very compact
and very easy to use.
The Ruark R4 retails for $1,499:
We are offering our existing
stock for $1,199 (black only).
Inakustik New Micro Air Cables

In a very short time Inakustik has speaker cable which come in three-metre
established itself as a major cable (and lengths and are factory-terminated with
accessory) brand in Australia. There are either banana plug or spade connectors:
several reasons for this – the depth of
their offerings, the quality of manufacture • LS104 with banana terminations
(a large percentage of their range is still $850/pair
built by hand in Germany), plus technical • LS104 with spade terminations
ingenuity and pricing. But most important $950/pair
is their performance. • LS204 XL with banana terminations
One recent ingenious technical $1,350/pair
development introduced by Inakustik is • LS204 XL with spade terminations
their AIR Technology, where their cables $1,450/pair
now incorporate air as part of their
dielectric. This has been so successful at Inakustik also has two versions of
the top end of their range that they have interconnect cables, available with RCA or
now expanded the concept into their XLR terminations and in 0.75m, 1.0m and
lower-priced Micro Air range. 1.5m lengths. These range in price from
This range consists of two models of $400 to $750.

24
TO TUBE OR...
NOT TO TUBE...
STAX IS THE QUESTION.

Introducing the new SRM-700T vacuum
tube type and SRM-700S semiconductor
type headphone amplifiers from Stax.
Distributed by Audio Marketing / www.audiomarketing.com.au / 02 9882 3877 /staxaustralia

SONOS
SONOS: TOTALLY NEW ARC SOUNDBAR
A
new model from Sonos is a from a performance aspect there are few The Arc outputs more bass, and it will
relatively rare occurrence differences between the old and the new. play at higher volume levels. It features
– their models have a long The big news is the upgrade of their eleven drivers, eight woofers and three
lifespan, and we guess that soundbar. Now called Arc, this is a tweeters, compared to the six woofers
their philosophy is that “if it works – why complete makeover and replaces both and three tweeters in the PlayBar. The
change?” their earlier PlayBar and their PlayBase. sonic soundstage it presents is much
However there has been a flurry of And, as the PlayBar was more than larger thanks to the use of dedicated
activity over at Sonos HQ during the last 8 years old, a revamp was well in order. ‘surround’ speakers, which was a feature
few months with three of their models The Sonos Arc is a totally new – and not found on the PlayBar. Obviously all
being updated. Both the Play:5 and the larger – design with a 270-degree grille the streaming features (Spotify etc.) that
Sub have been updated to Sonos Five and and built-in microphone support for have made Sonos famous are still part of
SubG3 respectively. The changes have both Alexa and Google Assistant. It the package, plus it retains the simplicity
been subtle with both units featuring also supports Apple AirPlay 2. As with of control for which Sonos is renowned.
updated internals including larger the Sonos Five and Sonos SubG3 the The Arc is a substantial improvement
memory, increased processing power, processing power has been increased, on its predecessor and, as you would
and a new wireless radio. There have also plus the Sonos Arc now supports Dolby expect, it comes at a higher price.
been some minor cosmetic changes, but Atmos. The Sonos Arc sells for $1,399.
Sonos Upgrade ZP80, ZP90, Connect S5 or Play:5 Gen1. is applied to defray the servicing, shipping
Program Continues! Please note that all affected products will and administrative costs). This initiative
continue to function normally as long as has proven to be a better-than-expected
The (somewhat controversial) upgrade you do not download the recent S2 App. success: at the time of writing we have so
program that Sonos introduced some Initially Sonos intended that the traded- far raised in excess of $13,000.
months ago continues. Sonos maintain back product was to be decommissioned
that some of their older models no and recycled but have since decided to The selling prices for these
longer have the processing power to leave them operational. As a consequence, second-hand units are:
operate with the new software updates we have undertaken to sell off this • Connect Amp: $250
being released, including the new S2 equipment (given that it still works with • ZP120 or ZP100: $200
operating system. Sonos have offered a the old App) and donate 80% of the • Connect: $150
30% discount on new models if you are funds to charity – in this case the Wayside • ZP90 or ZP80: $100
trading back ZP100, ZP120, Connect:Amp, Chapel in Potts Point (the remaining 20% • Play:5 Gen 1: $200

26
LG
LG GALLERY SERIES
Looks Like Art!
T
he Holy Grail for television today – they are excellent, and surprisingly itself, so that once it’s mounted on the
manufacturers is to produce TV well-priced given their high level of wall you can push it back so that the TV
screens that sit as close to the performance. itself is completely flush against the wall,
wall as possible. LG have also released a limited range just like a piece of art.
LG have come up with a very clever of ‘GX’ (Gallery Series) screens. Basically The LG ‘GX’ Gallery Series
idea which goes a long way to achieving these use the same screens as the models is available in 77”, 65” and 55”
this ideal. Their current ‘CX’ range of in the CX Series, but they have a unique screen sizes.
OLED screens are as good as you will buy wall bracket that folds away into the TV
27
TRIANGLE
Triangle
New Borea range
plus Esprit EZ
in Golden Maple
Borea is a new budget range from French speaker company not going to be necessary!
Triangle, one that we have not even heard yet, but which The initial release in Australia is going
should be in-store by the time you receive this newsletter. to consist of four models, with at least
another two models due later in the year.
W
e have taken the months overseas with the Borea BR03 BR02: The most compact speaker
unusual step of ordering already picking up ‘Product of the Year’ in the range. A perfect introduction to
these unheard, based (speakers) award from Hi-fi Trends which the world of hi-fi, this small speaker will
on the interest that they commented: ‘Their design, clarity, and surprise you by the immersion and sound
have already stirred-up overseas – in fact range are head and shoulders above amplitude it provides. $650/pr
we have already taken client orders based anything in their price range.’ BR03: The bookshelf speaker
on this international feedback. They also received a creating all the fuss
The range has been available for some prestigious 5 Star review overseas. $850/pr
in What Hi-Fi? and an BR08: A speaker
Applause Award from inspired by the iconic
StereoNet UK (with Antal speaker from
the latter saying ‘this Triangle’s more
baby box will blow expensive Esprit
your mind’). The range. This is an
Triangle Borea BR03 elegant three-way
is one of the lowest- floor-standing speaker
priced components ever with 4 drivers that
to receive this award, plus represents exceptionally
it’s already amassed a slew of very good value. $1,900/pr
impressive reviews. You can understand BRC1: The matching centre-channel for
why we thought a pre-order audition was the three models above. $500
There is also a new finish for the
popular Esprit EZ series from Triangle –
Golden Maple. This timber veneer cabinet
replaces the current vinyl Walnut and
Black Ash finishes, meaning the three
Esprit EZ options now are Golden Maple,
High Gloss White and High Gloss Black.
The entire Triangle Borea range was recognized by EISA

experts as “Best Buy Home Theatre Speaker System”
28
REGA / MEZE
It’s the recent recipient of a 5-star

review from British hi-fi magazine What
Hi-Fi?. And no wonder! The 30-watt per
channel Rega io delivers a performance
well beyond what you’d expect given its
price point and its power output. As you
would expect, there is a high-quality
built-in MM (moving magnet) phono
stage, two line-level inputs, a remote
Rega: New io control and a high-quality headphone

output that is cleverly integrated to
Integrated Amplifier deliver optimum performance without

compromising the main audio circuitry.
Add a turntable (preferably a Rega!)
W
e have been a huge However their newly-released io amplifier and a pair of compact speakers (from
supporter of Rega was just too good to pass up. This small Triangle or B&W) and you will have a
turntables for four package is unashamedly designed for simple, compact and surprisingly good-
decades now but have anyone looking for a compact, no-frills, sounding system at a realistic price.
not carried their electronics aside from yet great-sounding analogue-based The Rega io integrated amplifier
their excellent phono pre-amplifiers. audio system. is priced at $899.
Meze: New
Finishes for
Empyrean
We don’t usually associate Romania
with the leading countries in audio
manufacturing, but that is where Meze
Audio – which manufactures some of the
finest headphones in the world – is based.
Meze Audio have just announced two
new finishes for their impressive Empyrean
headphones: Jet Black and Black
Copper. These two new finishes
are applied to the headphones’
striking outer sculpted aluminium
skeleton which is precision CNC-
milled from a single billet of solid
aluminium.
With a blend of premium
materials, exquisite
craftsmanship and detailing
that makes it unmistakably a who could claim to make a king is born. This is a headphone everyone
Meze, the Empyrean is one better headphone. will still be talking about in 20 years.”
of the most technologically Authoritative review site Impressive words from someone who
innovative planar magnetic Headfonia.com commented: really knows what they are talking about.
headphones in the world. “What a masterpiece. Meze Empyrean in either Jet Black
There are few manufacturers Double thumbs up. A new or Black Copper: $5,500.
29
BOWERS & WILKINS / MARANTZ
Free Audio with Every Duo!

allowing you to stream 96k/24-bit high-
resolution audio through the system.
PLUS: The best music management
system on the market is ROON. This is
available on an annual subscription base
B
&W sits in the top tier of the the client who wants the convenience of of $170. When you purchase a pair of
ever-increasing number of wireless network streaming, and is willing Duos you will not only receive a B&W
wireless streaming brands with to pay for performance and quality. Formation Audio (as above), but also a
their Formation range. B&W have announced a promotion pre-paid 1-year subscription to ROON.
The premium product in the Formation through till the end of September where
range is the Duo, an active wireless pair of they will provide a free Formation Audio
speakers based loosely on B&W’s excellent with every purchase of a pair of Formation
700 Series of passive speakers. Duos – valued at $1,149.
In a market where the race has been to The Formation Audio is a
the bottom with scant attention given to streamer. Connect it to your
performance, the B&W Formation Duo has existing (non-streaming capable)
been a welcome release. Priced at $6,400 system and to the internet and
a pair, these speakers are designed for it becomes another input,
Open-Box Marantz
CD Player Special
We have a small quantity of Marantz
CD5005 and CD6006 CD players (black
only) that for one reason or another have
been opened. These are being sold as ex-display models and/or factory or and supported by the full One Year
new, for bargain prices. customer returns. Their condition is such manufacturer’s warranty and are sold
We do not have the individual histories that the distributor of Marantz in Australia on that basis.
of these units, but we do know that they considers them as “sold as brand new” CD5005: RRP $699 Sell $499
are all either ex-demonstration or so they will all qualify to be covered CD6006: RRP $1,250 Sell $899

30
AWARD-WINNING ACCESSORIES
DragonFly Cobalt DAC

AudioQuest’s best-selling portable Dragonfly Cobalt
Headphone Amplifier/DAC is now the proud winner
of an EISA Award for 2020-2021. It boasts a more
advanced DAC chip than any other in the Dragonfly
range, an improved processor and improved power
supply filtering to reduce Wi-Fi, Bluetooth and
cellular noise, so you hear perfect sound no matter
whether you’re using it with a phone, a laptop or
even in a full-sized hi-fi system. And it’s just $630!
IsoTek Cables
IsoTek manufactures a very large range
of power cables specifically designed to
improve the sound of your system.
Prices vary depending on the range (there
are five in all) and the required length,
but they start out at just $129 for the
1.5-metre EV03 Initium cable through
to $12,000+ for the 5-metre EV03
Yamaha WXAD-10 Wireless Ascension.
Streaming Adaptor Spin-Clean
For just $259 this award-winning device
Record Washer Mk2
will upgrade any older system to allow Clean LPs sound better, last longer and
you to stream music to it from your reduce wear and tear on your stylus, and
smartphone or tablet, as well as play this low-priced, easy-to-use machine is
music from your computer or network hailed by experts as one of the easiest,
storage, plus access online streaming most effective—and most affordable—
services—as well as Internet radio—so solutions for cleaning records.
you can play music in your home from So go on… get that grunge out of
anywhere around in the world. your grooves for only $169!
IsoAcoustics GAIA Speaker Isolators

Totally transform the sound of your loudspeakers, making them
sound better than you ever thought possible by adding a set of
GAIAs to remove lateral movement and oscillations and isolate
them from structure-borne vibration. You will be amazed how the
sound ‘opens up’ after you’ve installed a set. There are three Musical Fidelity V90 LPS
sizes, depending on speaker weight: $349.50 (up to 32kg),
$499.50 (up to 54kg), and $1,099.50 (up to 100kg). The RIAA correction of the phono input on most integrated
amplifiers tops out at 20kHz. The V90-LPS phono stage
delivers accurate RIAA correction that extends beyond
80kHz. That may sound extreme, but there is a good deal
of information above 20kHz that needs proper correction
to avoid ringing and overshoot. This very high-performance
external phono stage accommodates both MM and MC
cartridges, plugs into any line-level input on your amplifier
and will prove to you that a great phono stage can really
bring more “life” to your records. It’s available for $430.
31
5000 SERIES
GT-5000 TURNTABLE
C-5000 PRE-AMPLIFIER
M-5000 POWER AMPLIFIER
NS-5000 SPEAKERS
Now auditioning at:
CARLTON AUDIO VISUAL LEN WALLIS AUDIO TODDS HI FI WEST COAST HIFI
Carlton VIC Lane Cove NSW Tingalpa QLD Midland WA
carltonaudiovisual.com.au lenwallisaudio.com todds.com.au westcoasthifi.com.au
No 78. September/October 2020
B&W 702
SIGNATURE
A rich, musical and
exciting sound that’s
almost larger than life
yet at the same time is
so true to life...
ON TEST
B&W
702
SIGNATURE
LOUDSPEAKERS
I
was a great fan of B&W’s 702 loudspeaker
design, and of the Series 2 version of it
that followed, which was a significant
improvement. So I was intrigued when the
famous British company announced that
it was releasing a special ‘Signature’ ver-
sion of the 702, because I wondered how
such an evolved design could be further improved.
I was lucky enough to be given the chance to find
out, and what follows is what I discovered.
UNIQUE CABINET FINISH

Extracting the first of my review pair of speakers
from its packaging revealed one difference straight
away: a new finish, one that I’d never seen before
on any B&W speaker (or on any other brand I can
think of). It turned out to be a veneer B&W calls
Datuk Gloss that is apparently unique because
B&W says that the veneers on any pair will be
slightly different to the veneers on any other
pair, because no two models share the same grain
pattern.
76 Australian Hi-Fi
B&W 702 SIGNATURE LOUDSPEAKERS ON TEST
B&W sources this essentially “ebony-

-coloured” veneer from a specialist timber
company called Alpi that is based in Italy,
and says it sources its timbers only from
sustainable forests. Bowers & Wilkins then
adds value and improves the appearance by
adding nine clear finish coats to the veneer,
including multiple lacquers, to give every 702
Signature cabinet a deep, lustrous appear-
ance.
I decided to examine the unpacked speaker
very closely before unboxing the other of the
pair, and noticed two other small changes,
which were that B&W has changed the col-
our of the metal trim rings around its tweeter
and midrange driver from black to silver.
Presumably these silver trims rings are also
unique to the 702 Signature.
One thing that did surprise me about my
examination was that it wasn’t until I looked
at the rear panel of the speaker that I discov-
ered a fairly small, unobtrusive and decidedly
discreet but quite elegant metal badge with
the lettering ‘702 Signature’ and ‘Bowers &
Wilkins’ on it. If I’d been responsible for the
design, I probably would have put this badge
on the front baffle or the grille, so it was
more ‘in your face’.
Look as hard as I might, I could not find
any other differences between the 702 Sig- aluminium onto which an ultra-thin carbon Also, despite it appearing to be solidly
nature and the models that preceded it, but coating is applied by vapour deposition. This is mounted to the front baffle, the 702 Signa-
it transpired that the other difference were attached to an inner section of carbon material ture’s FST is isolastically mounted so that its
‘under the hood’, so to speak. that’s 300-microns thick and profiled to match performance cannot be adversely affected by
B&W says that it has significantly up- the curve of the main dome. B&W says this cabinet vibrations.
graded the quality of all the capacitors and dual-layer construction pushes the frequency The three 165mm diameter bass drivers
resistors used in the 702 Signature’s crosso- of the dome’s first break-up mode up to 47kHz, on the 702 Signature have cones made using
ver network, increased the voltage rating of or more than an octave above the highest the same triple-layer ‘sandwich’ technique
the low-pass section’s bipolar capacitor and frequency perceptible by the human ear. B&W originally developed for its 800 Series,
sourced its bypass capacitors from famous where two outer layers enclose an inner layer.
German manufacturer Mundorf. FIXED SUSPENSION The outer layers on the cones of the 702
TRANSDUCER Signature’s drivers are made from paper and
TWEETER ON TOP The midrange driver in the 702 Signature the inner layer from expanded polystyrene
Unlike most loudspeakers, where the tweeter is exactly the same as the one in the 702 (EPS). The company says that the multi-layer
is installed on the front baffle, usually at the S2 apart from the difference in colour in construction technique avoids the abrupt
top, the 702 Signature’s tweeter is mounted in a the trim rings. However, it’s a driver that is transition from pistonic to break-up mode
separate, acoustically and mechanically isolated unique because whereas most cone midrange behaviour that usually impairs the openness
housing that sits on top of the cabinet. This drivers have a flexible rubber or foam sur- and neutrality of drive units with cones made
housing is made from black-painted aluminium round suspension, this particular B&W mid- from a single uniform material.
and, including the tweeter, weighs around one range driver does not. It is what the company As with all recent-model B&W speak-
kilogram. calls a ‘Fixed Suspension Transducer’ or ‘FST’, ers, the flared exit of the 702 Signature’s
B&W started positioning its tweeters like so-called because the cone is attached to a rear-mounted bass reflex port is made from
this when the late John Bowers and his research narrow polymer ring that stretches and con- a dimpled polypropylene material that
team discovered that the frequency response tracts to accommodate the cone’s movement. minimises air turbulence at the mouth of the
errors and phase irregularities produced when B&W says FSTs have improved transient port… a design trade-marked by the company
a tweeter was mounted on a baffle disappeared response and, because there’s no flexible sus- under the name ‘Flowport.’
when it was located separately from the main pension to reflect energy back across the cone As you’d expect of a model in the 702
cabinet. surface, they have less dynamic distortion. Signature’s league, the speaker terminal plate
The 25mm dome diaphragm contained The FST’s cone is made from a woven com- facilitates bi-amping or bi-wiring through
at the front of the housing has what B&W posite fabric B&W calls ‘Continuum’. the provision of two pairs of large, multi-way
calls a ‘carbon’ dome and a unique construc- As for that trim ring, it’s not just cosmetic, colour-coded terminals.
tion whereby the front portion of the dome to hide the driver fixings—it does double Also as you’d expect of any pair of tall,
is formed from a 30-micron-thick sheet of duty as a tuned mass damper (TMD). heavy speakers with fairly narrow cabinet
Australian Hi-Fi 77
ON TEST B&W 702 SIGNATURE LOUDSPEAKERS
dimensions, the 702 Signatures have a can block off a port completely, half-block it was full-fledged and meaty, and the sounds
relatively high centre-of-gravity. This would or, of course, not use the plugs at all. B&W’s of both double-bass and electric bass were
normally mean they’d be relatively easy to Owner’s Manual has an excellent description rendered rich and full, with nice detailing.
tip over except that B&W supplies two very of the different sonic effects the different This excellent bass response was perfectly
substantial base-plates which should be combinations will have on the bass response, matched to the midrange response, so that
attached to the speakers before installation to plus it also has three very good—and very combined, the two presented a soundfield
improve stability. accurate—graphs showing how the low-fre- that presented aurally as a gloriously full
quency response will be affected. sound-stage extending right across the space
LISTENING SESSIONS I found that no matter where I positioned between the left and right speakers. If you lis-
The rear-firing ports on the 702 Signatures the speakers in relation to the rear wall, or ten to Claudia Tellini sing her multi-tracked
mean that the speakers’ bass response will what port configuration I used, the bass interpretation of Roger Waters’ classic Pink
be affected by their proximity to the rear response from the B&W 702 Signatures was Floyd hit, Money (from Stazioni Sonore–
walls, but it will also be affected if you elect impressively extended, so that with music, Who’s Got Its Own), which has everything
to install the foam port plugs that B&W it easily accommodated the lowest note on a from solo vocal to speech to scat as well as
supplies, which are two-stage types so you piano (27Hz). And from using them as front ‘harmony’ you can’t fail to appreciate how
channels when watching movies, the movie B&W’s FST midrange driver delivers the
sound effects proved to me that the low-fre- sound of her voice to perfection. Its low dis-
quency response went even lower than 27Hz. tortion will also allow you to admire the per-
The B&W Signature 702s were also capable fection of Tellini’s articulation and pitching.
of playing loud at these low frequencies. I am a huge fan of getting tweeters away
I was able to achieve room-shaking levels from front baffles, indeed removing them
The best thing about when playing Bach’s Toccata and Fugue in D from anything that could possibly affect
these B&W 702

Minor, for example. The tonal quality of the the motion of their domes—and therefore
bass was also wonderful, with beautifully their sound quality—but the sweet, pure and
Signature loudspeakers is rich-sounding ‘Ds’ at the bottom of the runs uncoloured treble sound I heard from the 702
and a resonating chordal sound at the con- Signatures wasn’t just down to the facts that
that everything you play clusion of the arpeggios. the tweeter is physically isolated and radiates
through them will sound But it wasn’t just organ music that
demonstrated the rich bottom-end sound of
its sound without any interference from the
main front baffle; it was also down to that
great! the B&W 702 Signatures. The speakers’ bass new carbon dome design.
response also worked wonderfully well for A great way to test the ability of any
all musical genres—the sound of kick drums tweeter is to play the title track of Norah
78 Australian Hi-Fi
LAB REPORT
Jones’ ‘Day Breaks’ where the tweeter has Readers interested in a full technical appraisal low-frequency boundary effects that would
to simultaneously handle cymbals, violin, of the performance of the B&W 702 Signature be found in a typical domestic living room.
Loudspeakers should continue on and read the
pedal steel guitar and Hammond B-3 LABORATORY REPORT published on the follow-
You can see that the response between
organ along with the harmonics of the ing pages. Readers should note that the results 100Hz and 13kHz is very flat and exceeding-
soprano sax… it can get very busy and, mentioned in the report, tabulated in perfor- ly linear, so that it can be contained in its
mance charts and/or displayed using graphs and/
if the tweeter is not up to the task, it will entirety with a 2.6dB envelope. So normal-
or photographs should be construed as applying
sound congested and mushy. ŭŢŗǍƧŭƧļěƛƐěČŁǠČƛðŠƐŗěƧěƛƧěē̻ ised, the response would be 100Hz to 13kHz
The B&W 702 Signature’s carbon-dome ±1.3dB. However, using the industry-standard
tweeter handled all these sounds in its deviation of ±3dB, the response as graphed
stride, whilst still maintaining that sense is 44Hz to 20kHz ±3dB, though in this case
of ‘air’ around the highs that only the the upper graphing limit is 20kHz (see next
finest tweeters can manage. The resolving paragraph). This correlates almost perfectly
power allowed me to hear each sound in
its own acoustic, with the tonalities of the LABORATORY with B&W’s specification for this model of
46Hz–28kHz ±3dB.
individual instruments separated from
each other. If you listen, make sure you TEST In order to more closely examine the
high-frequency response of the B&W 702
pay attention to the sound of the har-
monics of the higher notes of Jones’ piano REPORT Signature, particularly above 20kHz, Newport
Test Labs switched to a gating measurement
on the following track (Peace) as well as technique that simulates the response that
the higher harmonics of Wayne Shorter’s The overall in-room frequency response would be obtained in an anechoic chamber
soprano sax. measured by Newport Test Labs for the B&W and allows up to 1Hz frequency resolution.
702 Signature is shown in Graph 1. Ac- This response is shown in Graph 2.
CONCLUSION quired using pink noise as a test signal, this The increased resolution shows the
The best thing about these B&W 702 response is not smoothed, but it is averaged response between 700Hz and 10kHz is not
Signature loudspeakers is that everything to compensate for the inherent random quite so ‘flat’ as the pink noise measurement
you play through them will sound great, nature of pink noise and for microphone suggests, yet the peaks and dips shown in
because they will make whatever music position relative to the midrange driver and Graph 2 would not be audible to the human
you play through them sound richer, tweeter in particular. However, although the ear: it would ‘hear’ the response shown in
more musical, and more exciting and, in speaker was floor-standing for this measure- Graph 1. Nonetheless the peaks and dips
a way, almost “larger-than-life”, yet at the ment, it was more than four metres from any are still within ±3dB, therefore fall within
same time not, because they also deliver other boundary, so there’s none of the usual specification.
true-to-life sound... albeit without moni-
tor-like accuracy.
As to whether you think it is worth
paying the premium over the standard 105
dBSPL
Graph 1. Frequency Newpor

Newportt Test Labs
wpor
B&W 702 S2 to gain the improvement in
response in-room. Pink
100
sound quality, the exclusivity of the Datuk noise unsmoothed, aver- 95
Gloss finish and the cachet of owning a aged, at 3 metres. 90
‘Signature’ version, that will be a matter 85
between you and your wallet. 80
75
70
CONTACT DETAILS 65
Brand: B&W
60
Model: 702 Signature

55
50
Price: $8,500 per pair
45
Warranty: Five Years 20 Hz 50 100 200 500 1K 2K 5K 10K 20K
Distributor: Bowers & Wilkins Australia

Address:®ƯŁƧě˚˗˚̶˞˜˛£ðČŁǠČQŁĴļǇðǍ 105
dBSPL
Graph 2. High-frequency Newpor

Newport T
Test
est Labs
ļðƧƛǇŭŭēu®Ú˙˗˝˞ response, gated at 1
100
T:͒˗˙͓ˠ˘ˠ˝˟ˠˠ˗ metre, tweeter axis. 95
E: info-au@bowerswilkins.com 90
W: www. www.bowers-wilkins.com
85
80
75
• Rich and musical 70
• Extended bass and highs 65
• ¦ŭŭŠ͘ǠŗŗŁŢĴƛŭƯŢē 60
55
• Lowish impedance
50
45
700 Hz 1K 2K 5K 10K 20K 40K
Australian Hi-Fi 79
LAB REPORT B&W 702 SIGNATURE LOUDSPEAKERS
dBSPL
105
Graph 3.uěðƓǠěŗēiH Newpor
Newport T
wpor Test
est Labs
ƓěƛƐŭŢƛěƛĳŭƓðŗŗƧļƓěě
100
ċðƛƛēƓŁǆěƓƛ͒ŠěðƛƯƓěē 95
ŁŢēŁǆŁēƯðŗŗǍ̶͓ŠŁēƓðŢĴě 90
You can see that although Graph 1 shows ēƓŁǆěƓ͒ċŗƯě͓ðŢē

ċðƛƛƓěǡěǌƐŭƓƧ͒Ɠěē͓̻
85
the B&W 702 Signature’s frequency response 80
falling to –3dB at 20kHz, it actually rises 75
above 20kHz to peak at around 30kHz before 70
falling again to –3dB at 38kHz. This means 65
that if you combine the results gained from 60
the two tests, Newport Test Labs measured 55
the response of the B&W 702 Signature as 50
being significantly better than B&W’s spec- 45

10 Hz 20 50 100 200 500 1K 2K
ification, with a measured result of 44Hz to

38kHz ±3dB.
I was interested to see how the frequency 60
Ohm Deg
180
Graph 4.VŠƐěēðŢČěðŢē 50
Newpor
Newportt Test Labs
wpor
response Newport Test Labs measured of Ɛļðƛě͒ċŗƯě͓ĳŭƓċðƛƛ
150
40
the B&W 702 Signature compared with its Ɠěǡěǌ̶ƛěðŗěē̶ðŢēi£́Q£ 120
ƛěČƧŁŭŢƛ̻
30
measurement of the B&W 702 S2 and they’re 90
to all purposes identical. So I feel I can recycle 20 60
the comment I made about the S2 model at 30
that time, to whit: “Although its frequency 10

0
response is not as flat as some B&W speakers 9

8 -30
7
Newport Test Labs has measured in the past, 6 -60
[its] frequency response is still admirably flat 5

-90
4
and linear and Newport Test Labs’ measure- -120
ment of it exceeded B&W’s own specification

3
-150
by a good margin.” 2 -180

10 Hz 20 50 100 200 500 1K 2K 5K 10K 20K 40K
The low-frequency response of the B&W

702 Signature, as measured by Newport
Test Labs using a near-field measurement Graph 5. ŭŠƐŭƛŁƧěƓě͘
105
dBSPL
Newpor
Newportt Test Labs
wpor
technique to eliminate room effects, is shown ƛƐŭŢƛěĴƓðƐļ͒ƛěěČŭƐǍ͓̻ 100
in Graph 3. You can see that the bass drivers’ 95
output rolls off more steeply below about 90
80Hz to a minima at 26Hz when the cabinet’s 85
ports are not blocked (bass reflex) but less 80
steeply when the port is blocked (infinite 75
baffle). Interestingly, the peak output of the 70
bass reflex port occurs right down at 20Hz, 65
well below the frequency I’d have expected it 60
to be, namely 26Hz, to coincide with drivers’ 55
minima. This would partly be to ensure better 50
alignment in infinite baffle mode, but I’d 45

20 Hz 50 100 200 500 1K 2K 5K 10K 20K
guess was also the result of listening sessions,

rather than computer sessions.
You can see that B&W’s engineers seem to
be allowing the midrange driver’s response
to roll off naturally, without any electronic can see a 4.7Ω impedance combined with a means this design has well above average
filtering, with the roll-off commencing at –68 degree phase angle (the phase angle is sensitivity and also confirms B&W’s own spec-
550Hz, but the measurement technique is not shown by the light blue trace). ification of 90dBSPL for this parameter. This
reliable at this frequency, so I won’t place too Impedance graphs are also pretty good for is exactly the same result the lab measured
much importance on this. Nonetheless, it is identifying cabinet resonances, and I can’t see for the B&W 702 S2 several years ago, about
obvious that the midrange driver is flat up to anything on these traces that suggests there which I commented at the time: “The B&W
around 1.3kHz, after which it’s rolled off so might be any, so good work on the cabinet. 702 S2 also met its specification for sensitivity,
the tweeter can take over. Allowing for inevitable sample and measure- which is a rare achievement for any loud-
Graph 4 shows the impedance of the B&W ment variances, the impedance of the B&W speaker.”
702 Signature, and it’s pretty low, with a 702 Signature is identical to that measured by Overall, Newport Test Labs’ tests prove the
minimum impedance of 3.1Ω at 120Hz, and Newport Test Labs for the B&W 702 S2. B&W 702 Signature to be a very well-designed
staying at or below 5Ω from 80Hz right out to As is mostly usual, Newport Test Labs has loudspeaker whose frequency response is
1kHz. This would seem to be rather at odds included a composite graph (Graph 5) that extraordinarily linear and extended (in fact,
with B&W’s ‘nominal’ specification of 8Ω. combines the various different measurements surpassing its manufacturer’s specifications)
I would personally have put the nominal to give an overall picture of the B&W 702 whose sensitivity is admirably high and
impedance of this curve as 4–6Ω and if Signature’s performance. Newport Test Labs whose distortion levels are sensibly low.
pushed to hang a single figure on it, rather measured the sensitivity of the B&W 702 My only proviso would be to recommend
than a range, then 4Ω. It will certainly present Signature as being 90dBSPL at 1m for 2.83Veq using an amplifier that is completely comfort-
a challenging load down at 80Hz, where you under its standard test conditions, which able driving 4Ω loads. Steve Holding
80 Australian Hi-Fi
THE FUTURE OF
MAGAZINES
Subscribe at www.techmags.com.au
Free delivery across Australia | Never miss an issue | Save money
EISA AWARDS: 2020-2021
EISA AWARDS
2020-2021
A
ustralian Hi-Fi Magazine is proud to be a the Hi-Fi categories in a complex process that involved
member of the world-wide Expert Imag- nominations, short-lists, listening sessions, extensive
ing and Sound Association (EISA)which laboratory testing and an exhaustive final voting ses-
each year gathers together expert review- sion, all of which were complicated by the Covid-19
ers from 56 technology magazines and pandemic which meant that all collaboration had to
websites specialising in hi-fi, home theatre, in-car elec- be by electronic means. On the following pages you’ll
tronics, mobile electronics, photo and video from 29 find lall the products that won a ‘Best Product’ prize
countries around the world to judge the best product in the 2020–2021 EISA Award categories individually
of the year in each class and reward the manufacturer showcased, along with the final Judges’ Citation for
with a coveted EISA Award. This year, as always, Aus- each product. A full list of 2020–2021 EISA Award win-
tralian Hi-Fi Magazine voted on the awards given in all ners in other categories can be found on page 88.

EISA BEST VALUE FLOORSTANDING

LOUDSPEAKER 2020-2021 EISA LOUDSPEAKER 2020-2021
Focal Chora 826 SVS Prime Pinnacle

Drawing on its extensive expertise, from the manufacture of Sitting at the top of the SVS Prime range, this classically-styled
drive units to final assembly, Focal has developed an afforda- floorstanding model is of simple design and construction, yet
ble floorstander able to sound great on demonstration and in delivers a clear, crowd-pleasing performance – not least due to
the home. At the heart of the Chora 826 is a new ‘Slatefibre’ its trio of 16.5cm bass drivers and rear-facing ports. The woof-
driver, for speed and bass extension, and the speaker has a ers are drawn from the company’s Ultra Tower flagship model,
sound that’ll make you want to keep on listening, with both and ensures music driven by bass and percussion is always
bass weight, treble clarity and sparkle. It’s also easy to set up thrilling, just as the midband and treble are crisp and sweet. In
and position, will work with modest amplification, and sounds practice the Prime Pinnacles are svelte enough to slip into all
good in almost any room. However you look at it, this speaker but the smallest rooms, so if you crave a warm and a full-bod-
offers a lot of performance for the money. ied sound, these towers will have your system glowing.
EISA BEST VALUE BOOKSHELF LOUDSPEAKER 2020-2021 EISA WIRELESS LOUDSPEAKER 2020-2021
Monitor Audio Bronze 100 System Audio legend 5

Monitor Audio has built an enviable reputation for superb silverback
small speakers, winning the EISA Award for its bookshelf
Danish company System Audio took an entirely logical approach
model last year and building on this performance for its latest,
with the legend 5 silverback speakers: they’re active, with dedicat-
sixth-generation series in 2020. They’re admirable performers
ed amplification for each drive unit, and become wireless when
across a wide range of musical styles, with a killer combination
you add the full function Stereo Hub or third-party transmitter.
of bass weight and sweet treble from the brand’s in-house-
Operating using WISA technology to avoid interference and carry-
designed Ceramic-Coated Aluminium Magnesium (C-CAM)
ing sound up to 192kHz/24-bit, the system can connect to a wide
drivers, and a reflex port ‘rifled’ for smoother airflow. Their
range of sources, from a digital connection from a computer to TV
contemporary looks and easy-to-drive nature add to the appeal
sound. It also has multiple streaming options, from DLNA/UPnP
of these very sophisticated little speakers.
to GoogleCast, AirPlay and Bluetooth. It’s a beautifully elegant,
and fine-sounding, wire-free music solution.
EISA SMART AMPLIFIER 2020-2021

EISA AMPLIFIER 2020-2021
NAD Masters M33
NAD won this category last year with its compact Masters M10
Arcam SA30
– not just an amplifier but also a complete ‘just add speakers’ Arcam joins the ‘all-in-one’ streaming amplifier trend with its
streaming system. This year it has comprehensively evolved the flagship integrated. Within the elegant but purposeful casework
concept with its Masters M33, combining state-of-the-art Class the SA30 combines the company’s Class G amplification ,for both
D amplifier technology from Purifi Audio with in-house stream- finesse and power, with a raft of digital technologies.
ing know-how. The result is just about all the amplifier anyone It will stream, and you can plug in everything from your TV to a
could need, combining massive power and beautiful clarity and turntable, while DIRAC room correction is offered to optimise the
finesse with broad connectivity, streaming and DIRAC room sound, using a computer and the supplied microphone. It’s not
correction, all presented on a large front-panel touchscreen. It’s just a technical tour de force, it’s also a storming amplifier: Arcam
definitely an amp for the third decade of the 2000s. may be streamlining its product range, but hasn’t lost its focus.

EISA HIGH-END INTEGRATED AMPLIFIER 2020-2021
Musical Fidelity M8xi

EISA HIGH-END PRE/POWER AMPLIFIER 2020-2021 Musical Fidelity has always designed fabulous big amplifiers,
Michi P5/S5
following its belief that you can never have too much power.
Now under Austrian ownership, and sharing a stable with Pro-Ject
Rotel’s high-end sub-brand is back, some three decades after Audio Systems, it’s delivered the M8xi, offering a massive 550W
its first appearance, and the Michi P5 control amplifier and – which it comfortably exceeds from its dual-mono construction.
S5 power amp bring a welcome breath of weight, scale and Inputs extend to both digital and analogue audio options, but this
entirely natural music-making to the high-end arena. With isn’t just a big prize-fighter of an amp: it’s also fast and nimble,
cool black looks and stunning build quality, the duo displays a delivering music with both speed and accuracy, not to mention
wide-ranging ability across a broad spectrum of musical genres. masses of detail. If you want your amp all in one box, and superla-
Michi is all about the emotion and spirit of the music, deliv- tive performance, this is the one to buy.
ered on an entirely human scale. The amps are flexible too, the
preamp offering a wide range of digital and analogue inputs,
and the quality is assured by painstaking hand assembly, from
the basic components upwards. It’s a stunning return.
EISA BEST VALUE

TURNTABLE 2020-2021
EISA TURNTABLE 2020-2021
Pro-Ject T1
Pro-Ject has been making turntables for almost three decades,
Thorens TD 1601
starting with the original Pro-Ject 1 and, along with the later The Thorens name has been associated with turntables for almost
Debut models, it more or less reinvented the budget turntable 120 years, and while the TD 1601 has a look reflecting classic turn-
market. The T1 is the latest version of that design – a budget tables of the past, under the skin it’s all new. It retains the three-
audiophile record-playing package with excellent sound for the point sprung suspension of the TD150 of the 1960s, but brings
money. The company also offers versions including a built-in the company’s latest decoupled synchronous motor for speed
phono stage and Bluetooth transmitter. With its machined plinth, accuracy, and an electric arm-lift and end-of-side stop for conven-
high precision bearing, glass platter and newly-designed one-piece ient playback. A fully manual version of the deck, the TD 1600, is
aluminium tonearm, it offers a wonderfully weighty and detailed also offered. All this plus a balanced audio output alongside the
sound – and even the Ortofon OM 5E MM cartridge is pre-in- usual connections, for even lower noise, makes for a turntable that
stalled, making it completely plug-and-play. combines heritage with bang-up-to-date sound quality.
EISA BEST VALUE DAC 2020-2021 EISA DIGITAL SOURCE 2020-2021
iFi Audio ZEN DAC Volumio Primo

The appeal of the iFi Audio ZEN DAC is simple: with eye-catch- This unassuming-looking little black box is a highly affordable
ing looks, flexibility, solid engineering within and a remarkably solution to all your digital streaming needs, for not only will it
grown-up sound, this entry-level DAC is a conspicuous hi-fi bar- play music stored on home network devices, it also allows you to
gain. It proves that desktop audio doesn’t have to be the poor rela- access a huge range of online music services. With simple oper-
tion of ‘proper’ hi-fi, and is a real giant-killer, whether as a DAC/ ation via web browsers or apps, and an on-screen GUI delivered
headphone amp or a simple digital preamp. Buy this to boost the over HDMI, the Primo includes digital outputs to feed any DAC
sound of your computer and you may well find you’re listening to while also playing music via USB stores. Compatible with music
it most of the time. Best of all, it does all this at a very affordable formats all the way up to DSD, via Ethernet or Wi-Fi, this small
price – this is amazing value for money. wonder is the perfect way to start your streaming adventure.
EISA AUDIO ACCESSORY 2020-2021 EISA PHONO PREAMP 2020-2021
Pro-Ject VC-E Primare R15

Having spearheaded the vinyl revival with its excellent – and Housed in a compact case just 35cm wide, Primare’s R15 phono
very affordable – turntables, Pro-Ject has now turned its amplifier offers two levels of gain for both moving-coil and
attention to looking after your precious LP collection with its magnet cartridges, with further adjustments of resistance and
compact VC-E record cleaning machine. Not only is it small, capacitance to optimise loading for the cartridge in use.
it’s also very affordable and fast, spinning the disc at 30rpm to Built with the same care the company brings to its main amplifi-
enable it to be cleaned in just a few rotations. In fact, Pro-Ject ers, its low-noise design is informed by the flagship Primare R35
says one spin in each direction should be enough, while the model just as its sound is the familiar ‘Primare’ mix of weight and
clamp keeps the record label dry and the suction arm cleans substance allied to detail and resolution.
the surface effectively. The result? Less noise, less stylus and It’s the ideal interface between a high-quality record player and
vinyl wear, and even better sound from your favourite LPs. the line input of your amplifier.

COMBINED WITH THE
MOBILE EXPERT GROUP
EISA MOBILE
AUDIO PLAYER 2020-2021
FiiO M11 Pro

This portable music player packs best-in-class functionality into a
high-quality chassis with bezel-free touchscreen display. Format
support and listening options are unrivalled – the M11 Pro can
be used as both a Bluetooth receiver and transmitter, as a USB
DAC and USB audio player (with native DSD output), or playing
direct from its onboard storage (expandable to 2TB) or streaming
apps. A Samsung Exynos hexa-core SoC ensures seamless music
management and a responsive user experience. Two AK4497EQ
DACs with Velvet Sound architecture, meanwhile, support hi-res
audio to 384kHz/32-bit, plus MQA decoding. The player’s trio of
headphone outputs benefit from powerful, low-distortion
amplification. And that all-important sound quality?
In a word: exceptional.
EISA HEADPHONES 2020-2021
DALI IO-6
Many loudspeaker companies have diversified into headphones,
but none has done so as spectacularly as Danish manufacturer
DALI. Not only is the IO-6 a wireless design, it also incorporates
excellent active noise-cancelling, adding to its closed-back design
three modes of cancellation. As if that wasn’t enough, it then adds
EISA PORTABLE DAC/HEADPHONE AMPLIFIER 2020-2021 best-in-class battery life to keep you listening longer – up to 30
AudioQuest DragonFly hours between charges, in fact. Add to that a superbly powerful
yet open and informative sound, and you have nothing less than
Cobalt a sensational début.
The latest addition to AudioQuest’s DragonFly range is its best

yet. The Cobalt model not only converts a huge range of audio
formats from your computer, it also features a high-quality
headphone amplifier, as well as being able to deliver great
sound to a hi-fi system – and all in a package no bigger than a
USB thumb-drive. It’s an ideal portable audio companion: sim-
ply pop it into a USB port on your computer or ‘smart device’
which will both power it and supply the music. Then just plug
in your favourite headphones, and you have all you need for
superb music wherever you happen to be.
EISA AWARDS 2020-21

FULL LISTING EISA HOME THEATRE RECEIVER 2020-2021
HI-FI EXPERT GROUP DENON AVC-X4700H
EISA LOUDSPEAKER 2020-2021 EISA HOME THEATRE SUBWOOFER 2020-2021

SVS PRIME PINNACLE SVS SB-2000 PRO
EISA WIRELESS LOUDSPEAKER 2020-2021 EISA HOME THEATRE HIGH-END 2020-2021

SYSTEM AUDIO LEGEND 5 SILVERBACK TRINNOV ALTITUDE PLATFORM
EISA BEST VALUE BOOKSHELF LOUDSPEAKER 2020-2021 EISA HOME THEATRE HEADPHONE 2020-2021
MONITOR AUDIO BRONZE 100 JVC EXOFIELD XP-EXT1
EISA BEST VALUE FLOORSTANDING LOUDSPEAKER 2020-2021 EISA HOME THEATRE AMPLIFIER 2020-2021
FOCAL CHORA 826 EMOTIVA XPA GEN3
EISA AMPLIFIER 2020-2021 EISA SOUNDBAR 2020-2021

ARCAM SA30 LG SN8YG
LG DSN8YG (GERMANY, AUSTRIA, SWITZERLAND AND
EISA SMART AMPLIFIER 2020-2021 THE NETHERLANDS)
NAD MASTERS M33 LG SN8
LG SN8Y
EISA HIGH-END INTEGRATED AMPLIFIER 2020-2021
MUSICAL FIDELITY M8XI EISA BEST BUY SOUNDBAR 2020-2021
TCL TS9030 RAY·DANZ
EISA HIGH-END PRE/POWER AMPLIFIER 2020-2021
MICHI P5/S5 COMBINED WITH HOME THEATRE
VIDEO&DISPLAY EXPERT GROUP
EISA TURNTABLE 2020-2021
THORENS TD 1601 EISA HOME THEATRE MEDIA PLAYER 2020-2021
ZAPPITI PRO 4K HDR
EISA BEST VALUE TURNTABLE 2020-2021
PRO-JECT T1 HOME THEATRE VIDEO&DISPLAY
EXPERT GROUP
EISA DIGITAL SOURCE 2020-2021 EISA 8K TV 2020-2021
VOLUMIO PRIMO LG 75NANO99
LG 75NANO999NA
EISA BEST VALUE DAC 2020-2021
LG 75NANO996NA
IFI AUDIO ZEN DAC LG 75NANO99UNA
EISA PHONO PREAMP 2020-2021 EISA BEST PREMIUM OLED TV 2020-2021

PRIMARE R15 LG OLED65GX
LG OLED65GX6LA
EISA AUDIO ACCESSORY 2020-2021 LG OLED65GX9LA
PRO-JECT VC-E LG OLED65GXPUA
COMBINED WITH MOBILE EXPERT GROUP EISA LARGE SCREEN TV 2020-2021

EISA HEADPHONES 2020-2021 SAMSUNG QE75Q950TS
DALI IO-6
EISA BEST BUY TV 2020-2021
EISA MOBILE AUDIO PLAYER 2020-2021 TCL 65C815
FIIO M11 PRO TCL 65C815K (UK)
EISA PORTABLE DAC/HEADPHONE AMPLIFIER 2020-2021 EISA HOME THEATRE TV 2020-2021

AUDIOQUEST DRAGONFLY COBALT PHILIPS 65OLED935
HOME THEATRE AUDIO EXPERT GROUP EISA BEST BUY OLED TV 2020-2021
PHILIPS 55OLED805
EISA HOME THEATRE SPEAKER SYSTEM 2020-2021
ARENDAL SOUND 1961 SERIES EISA PROJECTOR 2020-2021
OPTOMA CINEMAX UHZ65UST
EISA BEST BUY HOME THEATRE SPEAKER SYSTEM 2020-2021 OPTOMA P1 (AUSTRALIA)
TRIANGLE BOREA SERIES OPTOMA CINEMAX P1 (NORTH AMERICA)
EISA SMART SOUNDBAR 2020-2021 COMBINED WITH HOME THEATRE

HARMAN KARDON CITATION MULTIBEAM 700 AUDIO EXPERT GROUP
EISA PREMIUM SOUNDBAR 2020-2021 EISA HOME THEATRE MEDIA PLAYER 2020-2021
BANG & OLUFSEN BEOSOUND STAGE ZAPPITI PRO 4K HDR

PHOTOGRAPHY EXPERT GROUP MOBILE DEVICES EXPERT GROUP

EISA CAMERA OF THE YEAR 2020-2021 EISA BEST SMARTPHONE 2020-2021
FUJIFILM X-T4 ONEPLUS 8 PRO
EISA BEST BUY CAMERA 2020-2021 EISA ADVANCED SMARTPHONE 2020-2021

NIKON Z 50 OPPO FIND X2 PRO
EISA APS-C CAMERA 2020-2021 EISA FOLDABLE SMARTPHONE 2020-2021

CANON EOS 90D SAMSUNG GALAXY Z FLIP
EISA FULL-FRAME CAMERA 2020-2021 EISA MULTIMEDIA SMARTPHONE 2020-2021

NIKON D780 SONY XPERIA 1 MARK II
EISA ADVANCED FULL-FRAME CAMERA 2020-2021 EISA SMARTPHONE CAMERA 2020-2021

SONY ALPHA 7R IV HUAWEI P40 PRO
EISA PROFESSIONAL CAMERA 2020-2021 EISA IN-EAR HEADPHONES 2020-2021

CANON EOS-1D X MARK III SENNHEISER MOMENTUM TRUE WIRELESS 2
EISA PHOTO/VIDEO CAMERA 2020-2021 EISA ON-EAR HEADPHONES 2020-2021

PANASONIC LUMIX DC-S1H BOWERS & WILKINS PX5
EISA COMPACT CAMERA 2020-2021 EISA MOBILE SPEAKER 2020-2021

FUJIFILM X100 V LG XBOOM GO PL7
LG XBOOM GO PL7W
EISA VLOGGING CAMERA 2020-2021
SONY ZV-1 EISA BEST SMARTWATCH 2020-2021
HUAWEI WATCH GT 2
EISA CAMERA INNOVATION 2020-2021
CANON EOS R5 COMBINED WITH HI-FI EXPERT GROUP
EISA HEADPHONES 2020-2021
EISA LENS OF THE YEAR 2020-2021
DALI IO-6
CANON RF 70-200MM F2.8L IS USM
EISA MOBILE AUDIO PLAYER 2020-2021
EISA WIDEANGLE ZOOM LENS 2020-2021
FIIO M11 PRO
SIGMA 14-24MM F2.8 DG DN ART
EISA PORTABLE DAC/HEADPHONE AMPLIFIER 2020-2021
EISA STANDARD ZOOM LENS 2020-2021
AUDIOQUEST DRAGONFLY COBALT
CANON RF 24-70MM F2.8L IS USM
EISA TELEPHOTO ZOOM LENS 2020-2021

IN-CAR ELECTRONICS EXPERT GROUP
TAMRON 70-180MM F2.8 DI III VXD EISA IN-CAR HEAD UNIT 2020-2021
KENWOOD DMX9720XDS
EISA TRAVEL ZOOM LENS 2020-2021
TAMRON 28-200MM F/2.8-5.6 DI III RXD EISA IN-CAR SOUND PROCESSOR 2020-2021
HELIX DSP ULTRA
EISA SUPER TELEPHOTO ZOOM LENS 2020-2021
SONY FE 200-600MM F5.6-6.3 G OSS EISA IN-CAR BEST VALUE DSP 2020-2021
GROUND ZERO GZDSP 4-8XII
EISA PROFESSIONAL TELEPHOTO ZOOM LENS 2020-2021
NIKON AF-S NIKKOR 120-300MM F2.8E FL ED SR VR EISA IN-CAR AMPLIFIER 2020-2021
MOSCONI GLADEN ATOMO 2
EISA WIDEANGLE LENS 2020-2021
SONY FE 20MM F1.8 G EISA IN-CAR DSP AMPLIFIER 2020-2021
ETON STEALTH 7.1 DSP
EISA PORTRAIT LENS 2020-2021
NIKON NIKKOR Z 85MM F1.8 S EISA IN-CAR SPEAKER SYSTEM 2020-2021
ESB 8.6K3U LE
EISA LENS INNOVATION 2020-2021
CANON RF 600MM & 800MM F11 IS STM EISA IN-CAR SUBWOOFER 2020-2021
HIFONICS ZRX6D2
EISA CAMERA DRONE 2020-2021
DJI MAVIC AIR 2 EISA IN-CAR HIGH END COMPONENT 2020-2021
AUDISON BIT ONE HD VIRTUOSO
EISA PHOTO SOFTWARE 2020-2021
NIK COLLECTION 3 BY DXO EISA IN-CAR DASHCAM 2020-2021
KENWOOD DRV-A501W
EISA MONITOR 2020-2021
EIZO COLOREDGE CS2740 EISA CAMPER VAN HEAD UNIT 2020-2021
ZENEC Z-E3766
ON TEST
it’s the most versatile of all the heat-treatable

aluminium alloys, being strong, resistant to
corrosion, easy to weld, easy to extrude and
widely available in a huge variety of sizes and
forms. Indeed it’s the second-most popular
grade of aluminium alloy.
First developed in 1936, 6061 aluminium
is a precipitation-hardened alloy that uses
magnesium and silicon as its major alloy-
ing elements. The ‘T6’ designation means
that it’s 6061 alloy that has been tempered,
solutionized and artificially aged, whereas the
standard ‘O’ type is not: It’s only annealed.
(There is another grade, called 6061-T651,
which is not only tempered, solutionized and
artificially aged but also stress-relieved.)
6061 T6 aluminium’s most common use
is in the manufacture of bicycle frames, but
possibly its most unusual use was when NASA
used it to create the plaques carried inside
the Pioneer 10 and Pioneer 11 space-craft
that have pictorial messages in the event
that they’re ever intercepted by aliens. These
plaques depict the nude figures of a human
male and female along with several sym-
bols that are designed to provide informa-
tion about the origin of the spacecraft (i.e.
MAGICO where we are!) These nudes were the first

human-made human images ever to reach
ASUB
interstellar space.
Don’t be fooled into thinking that because
it is made from aluminium the Magico ASub
POWERED DSP SUBWOOFER does not weigh much. Despite its relative-
ly compact dimensions (it measures just
458×369×447mm) it weighs 49kg which, as
I
the courier who delivered my review sample
don’t think Magico’s latest top-of- ing with, tuning and (eventually!) listening told me grumpily, “is heavier than my wife.”
the-range M9 speaker is going to to a subwoofer as I did with the Magico ASub. But forgetting the weight of the courier’s
sell very well here in Australia, for wife and continuing on with my aluminium
the very simple reason that a pair of THE EQUIPMENT theme, or should that be Magico’s alumin-
M9s will cost you around one and a If you have ever read any interviews with ium theme (though Magico of course uses
quarter million dollars, depending Magico’s founder, Alon Wolf, you won’t have the American spelling: aluminum), you most
on the prevailing exchange rate with to ask whether his ASub is a bass-reflex or a likely won’t be surprised to learn that Magico
the US, where Magico loudspeakers are made. sealed design, because you’ll already know makes the cone of the ASub’s driver out of…
That’s the bad news. that he’s railed against bass-reflex enclosures yep, you guessed it, aluminium.
The good news is that Magico’s ASub for many years, intimating that (and I’m But although the cone is made from
subwoofer, while not exactly inexpensive, is paraphrasing here, based on his spiels at CES aluminium, the very large (120mm diameter)
going to cost you a good deal less than one show demos) that you “get more boom than dust-cap at its centre is, I think, made from
hundredth of that figure, yet it has much of bass extension”. But if you want an on-the- woven carbon-fibre. Magico claims that many
the same DNA, which includes the fact that, record quote, Wolf once told Stereophile’s Ja- of its cone drivers are so strong that you can
like all Magico speakers, its enclosure is made son Victor Serinus concerning bass extension drive a motor vehicle over them without
from 10mm-thick sheets of solid 6061 T6 alu- that: “Many audiophiles, including reviewers, them collapsing, but I would not suggest you
minium that’s internally braced and damped. are fooled into thinking that most ported try this at home.
But I have even better news. speakers extend far lower than they do.” Magico rates the diameter of the ASub’s
Magico’s ASub is not only a phenomenally As for the material the ASub’s cabinet is cone as “10 inches”, which translates to
good-sounding, high-performance subwoofer, made from, it is, as I suggested in the intro- 254mm (at least it does if you’re weren’t
which has by far and away the best and most duction, 6061 T6 aluminium. Magico makes involved in the design of the Columbia space
flexible room tuning and speaker matching much of its use of 6061 T6 aluminium in its shuttle), but in fact this dimension is actually
circuitry I have ever seen, it’s also the most advertising and promotional material, but it the distance between the mounting holes
fun to use. would actually be surprising if if didn’t use across one of the driver’s diameters rather
Fun? Yep, fun! And lots of it: I have never, this type of aluminium, because according than the overall diameter, or even the Thiele/
ever, had quite so much fun setting up, play- to the people who actually make the stuff, Small (T/S) diameter.

Magico ASub Subwoofer
Confusing though it might be, almost all the Why only a single XLR input but dual appear to be ‘upside down’.
world’s loudspeaker driver manufacturers use RCA inputs? Magico’s logic is that all stereo Alongside the RCA inputs is a vertical
this same system to specify driver diameter. It systems and home theatre receivers have array of four LEDs, plus a small press-button.
would make more sense to use the T/S diame- RCA unbalanced outputs and use short cable The topmost (red) LED is labelled ‘Pro’, while
ter, which is the distance across the driver from runs, so unbalanced connections are all that’s the lower three green LEDs are labelled Pre1,
half-way across the roll surround on one side of required. It anticipates that the XLR balanced Pre2 and Pre3. The press-button allows you to
the driver to half-way across the roll surround input will be used only when customers are choose which of these three Preset crossover
on the opposite side. running a very long cable to the ASub, as filter set-ups you’d like to use.
would be the case in So far, I have not mentioned the elephant
very large home theatre in the room here, which is that there are no
A phenomenally good-sounding, systems and profession- actual user controls on Magico’s ASub. No
high-performance subwoofer with al sound systems. “On

more expensive subs we
volume control, no low-pass filter control, no
phase control… no nothing. This is because
the best control and calibration have only two XLR in- you have to use a computer to control it, for
circuitry I have ever seen.

puts since we almost al- which Magico provides a ready-made soft-
ways have XLR outputs ware package that it supplies on a USB stick.
on pre/processors in the That said, you can actually get up and
matching price-point,” running with the ASub straight away without
said Yair Tammam, CTO having to connect a computer at all, because
at Magico. “We didn’t the three presets all come factory pre-pro-
It would make more sense because it’s this see the need for two input XLRs on this grammed with an 80Hz, 24/dB/octave low
dimension that gives the effective cone area product.” pass filter. However to do this you would
of the driver, technically known as Sd, and You may be able to tell from the photo- have to be able to control volume level exter-
it’s the Sd that informs how much ‘grip’ the graph below on this page that there actually nally, because there’s otherwise no way to do
driver has on the air in front of it. It’s also the are two XLR sockets on the rear panel of the it without connecting a computer. Computer
dimension that loudspeaker designers plug ASub. The second one (a male XLR) is actual- connection is via a USB Type A mini-jack,
into their computer programs when they’re ly an output or, as the label on the rear panel a type that seems a bit outdated these days.
designing a cabinet to house a specific driver: more accurately identifies it, a ‘Through’ I would have thought for such a premium
They certainly don’t plug in the distance socket. This means that whatever signal product, USB-C would have been a better
between the mounting holes! you input to the ‘Analogue In’ XLR input choice. I was also perplexed as to why Magico
As for that roll surround, it’s a standard will appear unaltered at the ‘Through’ XLR puts exactly the same filter on all three pre-
inverse profile and appears to be made of output. In other words, it won’t be filtered or sets. I really think that two should each have
some type of rubber compound, so it should modified in any way. This is to allow you to a completely different filter, and the third
be very long-lived. (Driver roll surrounds that easily and conven-
are made of foam will inevitably fail at some iently ‘daisy-chain’
point in the not-too-distant future.) multiple subwoofers.
If you purchase a standard Magico ASub, (Magico strongly
you’ll be looking at that driver quite a bit, recommends using
because the ASub doesn’t come with a front two subwoofers,
grille. And if you’d prefer a grille, you’ll need rather than just the
to dig out $695, because that’s the RRP. one, presumably to
The data sheet for the Magico ASub rates more effectively deal
its internal amplifier with an output of with room modes).
‘500-watts’ but doesn’t go into any detail I was intrigued
about the amplifier’s design. However, seeing about the orienta-
that it’s powering a subwoofer it doesn’t tion of the two XLR
need much in the way of bandwidth and fittings.
out-of-band noise will not be an issue, so it The female fitting
really doesn’t matter what ‘Class’ of amplifier is oriented so the
it might be—Class-A, Class-B, Class-A/B… earth pin is the
even Class-H—but given the stated power, lowest of the three
the lack of any obvious heat-sinking and the pins, while the male
fact that the plate ran so cool during all the fitting is oriented
time I was reviewing the ASub, I’m putting so the earth pin is
my money on it using a Class-D topology of the highest of the
some variety. three. This seems
There are two ways of getting audio signals a bit strange, and
into the Magico ASub, both involving wire. a tad illogical, but
You can input a balanced signal, via a single means that if you do
XLR female socket, or an unbalanced signal, use both fittings the
in which case you have the choice of two XLR plugs will look
gold-plated RCA sockets, or both. a bit odd, as one will
ON TEST
certainly have to use Magico’s “Quick Set-Up

Guide” to do it. This actually wasn’t on my
USB stick but apparently will be by the time
you are reading this review. The version I
received after asking for it appeared to me as
if it was an early draft rather than a finished
work, because the descriptions in it didn’t
really reflect what I was seeing on-screen
during the installation and filter set-up
processes and some essential steps were
incompletely described. After a few emails I
was then sent a video that walks the viewer
step-by-step through the entire installation
process, after which I had no trouble
finishing the install… though adding a voice-
over to the otherwise silent video would have
been a nice touch. I understand this video
also will in future be included on the USB
stick that comes with the ASub. Again, if it’s
not there, ask your dealer for a copy.
SETTING THE LOW PASS FILTER

FREQUENCY
To ensure correct crossover from the ASub to
your main speakers, you need to set the ASub’s
low-pass frequency and phase, both of which
are usually achieved via rotary controls. On
the ASub, the easiest way to do this is load a
Top-most screen shots only hint at the complexity config.xml file from the Resources Folder on
of what it’s possible to do using the Magico ASub’s
the USB stick.
DSP. The EQ curve immediately above is the one
that gave the frequency response in Graph 4. COMPUTER CONTROL This will load a preset filter, the turnover
The software Magico provides on its USB point of which will be indicated by a blue dot.
should have no filter at all. stick is a customised version of software Clicking on this will turn the dot green and a
Preset 1 should come with a 50Hz low- originally developed by famous Netherland- small box with “BQ1 on/off” and “BQ2 on/off
pass filter (which would be perfect for the based company Hypex to control various “will come up. Click on BQ1 and a dialogue
Magico A3). Preset 2 should come with a of its Class-D amplifiers, one of which is at the left of the screen will open to show you
60Hz low-pass filter (which would be perfect obviously what powers the Magico ASub. I the frequency at which the filter is currently
for the Magico A1) and Preset 3 should not am not giving away any company secrets set. You then just then type in the frequency
be filtered at all, to cater for those who will here, because you will be informed of you want into the “Cut-Off Frequency” box
use their AV receiver’s crossover software to Hypex’s involvement as an integral part of (say, 90Hz) and press “Return”. The blue dot
pre-filter any signals sent to the ASub. the software installation process. When your will then move to 90Hz and turn green. You
Pre-programming the filters in this way Windows user account controller asks if will then see a second blue dot appear back at
would be very, very easy for Magico to do, it’s OK to install the ASub software on your the 80Hz vertical. You then need to click on
and Australian Hi-Fi editor Greg Borrowman computer, it not only shows the program this second blue dot and repeat the process
says he has discussed it with the company name as “Magico Sub Control Installer” but just outlined. This is because what you’re
already, so don’t be surprised if it has been also the name of the Verified Publisher as actually doing is constructing and joining two
done by the time you read this. But if it “Hypex Electronics BV.” separate 90Hz 12/dB octave filters to create a
hasn’t, never fear, because it’s super-easy to The installation process is rather arcane, single 90Hz 24dB/octave filter. Once you’ve
do yourself… at least it is once you know so unless you get your hi-fi dealer to do it done this, you click anywhere on the page and
what you’re doing. for you (which I’d recommend) you will you’ve made your filter.

However, in a trap for new players, you set of ready-made filters with different turn- be shown on the computer screen, so you
have neither saved your filter, nor actually over points into the Resources folder on the will easily be able to see which frequencies
loaded it into the subwoofer. USB stick to make it even easier to do. But it the filter affects, and by how much each one
Load or save? I’d recommend doing both. would not be nearly as much fun. is affected. The screenshot of the filter page
Save it using an obvious filename (e.g. “90Hz shown at the left shows a notch filter that
LP filter 24dB per octave”), then just click USING THE PARAMETRIC has been created to deliver a 12.5dB notch
the “Load filter to DSP” button and you’re EQUALISER at 100Hz. The effect this filter had on the
done—the 90Hz filter will be loaded into In order that you can take advantage of the Magico ASub’s response is shown in Graph 4
Preset 1. You could then repeat this entire extremely powerful DSP processing inside in the Test Results section of this review.
process, but set the low-pass frequency to the Magico ASub to compensate for any Of course in order to adjust the paramet-
100Hz low-pass, save it as such, but load it deficiencies in your room’s acoustics, the ric equaliser, you need to know which fre-
into Preset 2. Do this and then whenever you ASub has a nine-band parametric equaliser quencies you need to attenuate (reduce) and
press Preset 1 on the rear panel of the sub built in, which you access by pressing the by how much. This means you will need to
you’ll load your 90Hz filter, and whenever “EQ” button on the Magico Sub Control measure the subwoofer in your own room.
you press Preset 2, you’ll load your 100Hz Screen (as shown at left). (And remember that you should always be
filter. After this you’ll have no more need for Initially the nine equaliser bands are set using the EQ to attenuate, not to boost!)
the computer (unless you want to change at 20Hz, 40Hz, 60Hz, 80Hz, 100Hz, 120Hz, Magico suggests you should do this by
volume). It’s really that easy. 140Hz, 160Hz and 180Hz, but you can purchasing a microphone and installing in
More advanced users might want to add change these frequencies to whatever fre- your computer a free loudspeaker measure-
extra filters (such as a high-pass filter in order quency you like to suit the correction curve ment program called Room EQ Wizard, (the
to remove frequencies below, say, 30Hz, so you want to use. You can do this by ‘click name of this program is usually abbreviated
you could use the ASub late at night and not and dragging’ to the frequency you want, or to just ‘REW’). If your computer does not
upset the neighbours. (Settings such as this by clicking followed by keyboard entry. have a suitable soundcard, you will need to
are sometimes called ‘Apartment Mode’, or If, for example, you find your room has purchase a suitable external USB audio in-
‘Night Mode’). excess energy at 85Hz so you want to reduce terface as well. This REW software not only
You can also adjust filter slope, Q, phase, the volume level the ASub delivers at this allows you to measure the ASub’s in-room
in fact pretty much any parameter of the frequency, you’d change the 80Hz filter to frequency response, but also to create a filter
filter you like, and everything you do will be 85Hz, then enter the reduction in level you that will correct for it which can then be
shown graphically on your computer screen. wanted (–6.5dB, for example), then set ‘Q’ loaded directly into the Magico ASub.
Like I said, it’s not only flexible, it’s fun! of the filter to adjust how much the fre- This all sounds like a great idea—and it
But if you’re not a fun kind of guy, and quencies either side of 85Hz will be affected is a great idea!—but my personal opinion is
you like your filters to come ready-rolled, it (large numbers for a steep-sloped filter, low that if you are not already familiar with the
has been suggested to Magico that it should numbers for a shallow-sloped filter). The theory and practise of loudspeaker meas-
think about creating and loading a complete shape of the filter you’ve designed will then urement it would be necessary to put some
time and effort into becoming conversant
with REW before you would be able to make
useful measurements in order to create
suitably effective equalisation curves for the
ASub.
However, if you watch the Magico video I
mentioned earlier, it will take you step-by-
step through the entire measurement and
curve-creation processes, so you’ll be able to
judge for yourself how difficult you might
find it to do simply by watching the video.
And if it turns out that you are at all uncer-
tain about your ability to do it, you could
then instead ask your hi-fi dealer to do all
the measurements and equalisation for you.
But I’d also suggest you could use
another method entirely, which is to do it
manually, using a real-time analyser app on
your mobile phone—either Music & Audio’s
AudioTool (Android) or Studio Six Digital’s
AudioTools (IOS)—and a pink noise source
(www.audiocheck.net/testtones_pinknoise.
php) which will allow you to adjust the
filters and equalisation in (almost) real time.
Admittedly this method isn’t as slick or
accurate as the one Magico recommends,
but it’s cheap, accurate enough and possibly
a bit easier to do.
ON TEST LAB REPORT
LISTENING SESSIONS guitar, electric guitar, and all keyboards will also Readers interested in a full technical appraisal of
the performance of the Magico ASub Powered
I have to say that initially I was a bit put benefit. You can demonstrate this for yourself Subwoofer should continue on and read the LABO-
out that the ASub was not equipped with a with a track you’re bound to have in your own RATORY REPORT published on the following pages.
physical volume control but once I became collection, which is Speak To Me/Breathe from Readers should note that the results mentioned in
the report, tabulated in performance charts and/or
more familiar with the software, and had ‘Dark Side of the Moon’. Those ‘heart-beats’
displayed using graphs and/or photographs should
everything up and running, I realised I had no are at a frequency of 27Hz. You’ll probably also ċěČŭŢƛƧƓƯěēðƛðƐƐŗǍŁŢĴŭŢŗǍƧŭƧļěƛƐěČŁǠČƛðŠƐŗě
need to use the control at all, either when the have Jennifer Warne’s ‘Famous Blue Raincoat’ tested.
ASub was installed in my two-channel audio in your collection, so listen to the Magico ASub
system or when it was installed in my multi- playing Joan of Arc, and revel in the quality of
channel home theatre system. Once you have the low bass at 35Hz.
calibrated it, there is no further need to make If you’d rather experience the Magico’s
any adjustments. And if you do prefer to use superior bass performance with a movie, it’s
slightly different settings for movies than you worth digging out Steven Spielberg’s version
do for music, you could simply make those of H.G. Wells’ War of the Worlds if only for the
settings in advance, then program them into scene where the Martian machine emerges. The
the presets. But if you didn’t want to fiddle ASub delivers this sound effect with startling
with the presets, you can adjust volume by realism, as it then also does with all the FX later
connecting a computer to the ASub and using on in this movie, including the death rays and
LABORATORY
the main screen to adjust it. If the computer the plane crash. And if you haven’t experienced
you connect is already switched on and loaded the Lightcycle Battle, from Tron:Legacy, you
with Magico’s software (which it would have owe it to yourself to experience it with the
TEST
REPORT
to be, of course!), you could use it to adjust Magico ASub. Do watch the volume levels,
volume in less than 60 seconds. Incidentally, but be prepared to be seriously impressed. The
there are no restrictions on the number of tympanic bass line and the pulsing super low
times you can install the software, so you frequencies add to the battle sounds to deliver a Newport Test Labs first measured the fre-
could leave an older computer permanently sonic masterpiece. quency response of the Magico ASub using
connected to the ASub if you wanted instant a near-field technique that effectively
access. But like I said, I can’t see why you CONCLUSION gives the response that would be obtained
would. I know that I have already said it once, but in an anechoic chamber, without the con-
However, if you follow Magico’s recom- Magico’s ASub is just so good that I just have tribution of room effects. This technique
mendation, which is to use your AV receiver’s to say it again: it’s not only a phenomenally does however, remove the beneficial effect
LFE circuitry to adjust the volume of the signal good-sounding, high-performance subwoofer, of an in-room response, which is a boost
going to the ASub (as well as take care of and one which has by far and away the best in volume level at the very lowest audio
filtering, etc), you can ignore my previous two and most flexible room tuning and speaker frequencies.
paragraphs entirely, because you will have total matching circuitry that I have ever seen, it’s Graph 1 shows the result of this test for
control of the Magico via your AV receiver and also the most fun of any subwoofer I have three different filter settings and for when
its remote control. ever reviewed. But I don’t want one... no, no, no filter is used at all. Looking first at the
I always like to start my subwoofer evalu- no... I want two! Kailu Chen unfiltered response (the black trace) you
ations with a Bach organ work, so because it can see that it is superbly linear, extending
hadn’t had an outing for a while, I dropped the CONTACT DETAILS from 35Hz to 500Hz ±2dB. Below 35Hz
stylus on his spritely Fugue in G Major (BWV the low-frequency response rolls off at
Brand: Magico
577). OK, so it doesn’t quite have the bass of 12dB per octave, exactly the slope loud-
his famous Toccata and Fugue in D Minor or even Model: ASub speaker enclosure theory predicts for this
his gorgeous Passacaglia in C Minor, but it’s a RRP: $10,900 alignment. I should point out that despite
lovely work, and there’s a goodly assortment of Warranty: Two Years this exceptionally linear and extended
16-foot pipes in the finale. The advantage of it Distributor: Absolute Hi End high-frequency response, you should
being a gigue is that it was able to prove to me Address: PO Box 370 always roll off the Magico ASub’s response
the speed and transient abilities of the Magico Ormond
ASub, and I can report that the ASub performed VIC 3204
brilliantly. I heard instant responses to both
T: (04) 8877 7999
keyboard and pedals, with no unwanted over-
E: info@absolutehiend.com
hang whatsoever and when the 16-footers did
W: www.absolutehiend.com
come in at the end, the depth and quality of
the low bass was impressive. »ļěƯŢǠŗƧěƓěē
• Outstanding sound quality
response of the
Of course you don’t have to be a pipe organ
aficionado to benefit from the extended bass • Best crossover circuitry ever
afforded by adding a subwoofer to your system.
All the lower notes of the larger orchestral
• Fantastic parametric EQ Magico ASub is
instruments will be improved by using a
• Cost of speaker grille
• Control only by computer
superbly linear,
subwoofer (percussion, harp, double-bass, cello,
and so forth) and when playing rock, jazz and • Some user skill required extending from
other popular genres, the sound of drums, bass 35Hz to 500Hz ±2dB
dBSPL
Graph 1:
110
Newport Test Labs
at 200Hz or lower, so the sound is not too 105
directional. uěðƓ͘Ǡěŗē
100
The pink trace on Graph 1 shows the frequency response

95
Magico ASub’s frequency response when the ǇŁƧļ˛˗QǗ͒Ɠěē
90
low-pass filter is set at 200Hz and you can see ƧƓðČě̶͓˘˙˗QǗ͒ċŗƯě
85
that relative to the driver’s output at 60Hz, trace), 200Hz (pink
the response is around 9dB down at 200Hz. ƧƓðČě͓˙˛ḗŭČƧðǆě
80
The light blue trace shows the response with 75
ŗŭǇ͘ƐðƛƛǠŗƧěƓƛðŢē
a 120Hz low-pass filter and relative to 55Hz 70
ǇŁƧļŢŭǠŗƧěƓƛŁŢ
the response is around 6dB down. If you look 65
ČŁƓČƯŁƧðƧðŗŗ͒ċŗðČŔ
at the slope of the response resulting from 60
this filter between 200Hz and 400Hz (which 55
is one octave) you can see that the slope is 50

10 Hz 20 30 40 50 60 70 80 90 100 200 300 400 500
exactly 24dB/octave. The red trace on Graph
1 shows the response with a 40Hz filter and
you can see that response rises to a maximum dBSPL
Graph 2: 110
Newport Test Labs
output at 35Hz before rolling off, putting the
uěðƓ͘Ǡěŗē 105
overall frequency response at this setting as

frequency response
100
17Hz to 55Hz ±3dB.

ǇŁƧļ˛˗QǗi£͒Ɠěē
95
Graph 2 shows three of the same traces
trace), 80Hz LP
90
that are shown on Graph 1, but the green
with LF cut (see
85
trace shows the response with an 80Hz 24dB/
copy) 120Hz LP
80
octave low-pass filter and a 27Hz shelving
filter. The shelving filter could be used to at- ͒ċŗƯěƧƓðČě͓ðŢē
75
tenuate super-low frequencies to avoid them ǇŁƧļŢŭǠŗƧěƓƛŁŢ

70
transmitting to another dwelling. ČŁƓČƯŁƧ͒ċŗðČŔƧƓðČě͓̻

65
The in-room response of the Magico ASub, 60
measured at a distance of three metres with- 55
out any filters or equalisation, is shown in 50

10 Hz 20 30 40 50 60 70 80 90 100 200 300 400
Graph 3 (green trace). This time Newport Test

Labs has used an upper measurement limit
of 200Hz as this is a little higher than the dBSPL
Graph 3:
110
maximum frequency you’d normally expect Newport Test Labs

LFE in-room
105
any subwoofer to deliver. You can see the in-

frequency response
100
room response even without equalisation to
without EQ (green
95
compensate for room effects is very smooth,
90
extending from 30Hz to 200Hz ±3dB. When ƧƓðČě͓ðŢēǇŁƧļ1¥
equalisation is added, the response becomes ͒ċŗðČŔ͓̻
85
even smoother and even more linear, which 80
is shown as the black trace. This response 75
extends from 18Hz to 200Hz ±2.5dB. 70
Graph 4 shows the frequency response of 65
the Magico ASub without any filters or equal- 60
isation (black trace) and with a filter with a 55
centre frequency of 100Hz, attenuation of 50

10 Hz 20 30 40 50 60 70 80 90 100 200
–6dB and a Q of 12. The setting of Magico’s
equaliser that was used to obtain this graph is
shown in the screenshot published earlier in dBSPL
Graph 4:
110
Newport Test Labs
this review. It’s a very good demonstration of
uěðƓǠěŗēiH1
105
the power and accuracy of the software.

frequency response
100
Self-evidently, the frequency responses

͒ċŗðČŔƧƓðČě͓
95
returned during Newport Test Labs’ tests were
showing effect of
90
outstandingly good, easily exceeding Magi-
˘˗˗QǗ̶˝ēŢŭƧČļ
85
co’s specifications, but these same frequency
responses also show the enormous power and ǠŗƧěƓðƛðƓěƛƯŗƧŭĳ
80
flexibility of the digital filtering and equali- ěƒƯðŗŁƛðƧŁŭŢƛěƧƧŁŢĴ

75
sation enabled by Magico’s software-driven shown in EQ

70
DSP module. 65
screenshot on page
In sum, the Magico ASub offers more effec- 60
ˠ˙͒ƛěěČŭƐǍ͓̻
tive room tuning and equalisation than any 55
subwoofer I have ever seen, irrespective of 50

20 Hz 30 40 50 60 70 80 90 100 200 300
size or price. Steve Holding
ON TEST
shell, while under a bright light the left shell

revealed a swirl of rich lighter grain through
its lower half. Full-black pieces of Kokutan
are exceptionally rare and are prized in Japan
for use in pens, brushes, and traditional
wooden swords—the treasured tools of the
daimyos, shoguns and samurai of Tokuga-
wa-period Japan no less. But there’s more to
the attractions of Kokutan than its colouring
and its traditional associations. This is a
hardwood dense enough to sink in water,
and in audio terms this assists it to suppress
unwanted resonances, thereby increasing the
accuracy of reproduction from the drivers it’s
enclosing. It’s for this same reason Kokutan is
also used in musical instruments, both blown
and stringed.
CONSTRUCTION
Clearly, then, these are closed-back head-
phones which won’t let sound spill out to
others in the same room. The internal cham-
bers chiselled into the Kokutan cups use
Audio-Technica’s patented D.A.D.S. (Double
Air Damping System), first developed for the
Limited Edition W2002 headphones made
for the company’s 40th anniversary in 2002.
As its name suggests, D.A.D.S. uses parti-
tions and damping materials inside a closed-
back design to divide the space into two
separate but connected chambers, aiming for
the highest possible attenuation of sounds
either trying to get from the outside into the
capsule or in the opposite direction.
While Audio-Technica generally points to
this as delivering deeper and smoother bass
response, it also allows better dynamics and
a higher signal-to-noise ratio given the im-
proved isolation… always subject, of course,
AUDIO-TECHNICA to a good ear-seal at the earpad.

The ear-pads and headband use genuine
ATH-AWKT sheep-skin leather, the width of which var-

ied significantly around my review pair to be
18mm wide at their widest points, making
HEADPHONES for a soft, comfortable but solid seal around
my ears.
T
hese are truly luxurious wood construction. It is only when you open
headphones. Their pack- the third box that the headphones are finally
aging even proclaims their revealed, nestling in satin-like fabric (which
greatness, because they ar- smelled very nice indeed).
Take care if you

rive in a huge 390mm-high And what a reveal! It’s the cups of these
slip-cased box, stylishly headphones that immediately grab your
emblazoned with Japanese attention, though with the most sophisticat- audition a pair fresh
from the box, as what
calligraphy and an anticipatory circle of ed and gentle of grabs. They are beautifully
wood-grain, this outer casing seemingly so carved and hand-finished from solid wood,
enormous that you might expect it to yield
headphones built to adorn the head of some
a striped ebony called Kokutan, which I
gather to be a rare hardwood renowned for
you hear may not be
monumental sumo wrestler. exceptionally deep colourings that range the ultimate sound that
Then, in the manner of a Russian doll set,
inside the first box is a second, and inside
from jet black to a rich brown. On my review
pair the semi-gloss finished wood grain was
they are capable of
that second a third, this last being of a light a very deep brown across the entire right delivering.
A u d i o - Te c h n i c a AT H - A W K T H e a d p h o n e s
Yet there is no pressure: these headphones gold-plated plug, the other offering a 4-pin ing could be entirely corrected by pushing
sit remarkably lightly despite their total XLR-mini (3.5mm) balanced connector, in hard on the earcups, thereby flattening
weight of 405g, so that long-term listening should you have available a headphone out- the thick earpads; this raised the bass level
was not only possible, but positively encour- put of this type to deliver a suitably balanced and filled out the sound. But there was no
aged by their sound, as I will reveal shortly. signal. easy way to increase the clamping pressure
The Kakutan ear-cups are supported and because, as noted, these headphones are very
angled by yokes of black-finished magnesi- PERFORMANCE lightly held by their yokes.
um alloy which are both strong and rigid, As for listening, this review was hopelessly Then it occurred to me that while I had
and have a good aviator-style extension that elongated by the distractingly involving fully run in the ATH-AWKT headphones by
should allow them to fit even the largest nature of these headphones. Time and leaving them playing to themselves over-
head. There’s nothing to twist again I’d start a track, only to night for nearly a week, this process would
or fold to minimise the size to find myself intently listening or only free-up the drivers’ suspensions, whereas
enable compact storage—indeed drifting away so that nothing actual listening use might also slightly flatten
given that their storage box is was written before the end of the foam of the earpads over time, bringing
made of wood, I don’t think the album. I played the entire the drivers inwards.
Audio-Technica has the slightest ‘Hamilton’ soundtrack, and was So I left them for another week, clamped
intention of you using them in able to follow every rapid word over a dummy head, and sure enough the
your travels! and character strand thanks flattening effect was enough to bring the
The all-important drivers to the clarity of separation bass back where it belonged, as confirmed by
inside are large 53mm delivered. bouncing through some Buju Banton, where
types which Au- As for emotion, both the bass and kick drum on his skanking
dio-Technica says are the combination of Jamaican duet with Stephen Marley (son of
found exclusively in Helpless and Satisfied Bob) on Yes Mi Friend were positively thrum-
its own designs; it through the Ko- ming with energy. That Joni vocal gained
specifies titanium kutans should be useful underpinning, the treble content of
flanges but not the enough to reduce her voice now being useful enunciation on a
diaphragm material any Hamilton shaped image rather than the dominant con-
itself, though pre- fan to blubsville. tent. Needless to say, this improvement had
vious models at this Paradoxically, the me lost in music for more evenings before
high level have used one thing the ATH- reluctantly returning the Kokutan headshells
tungsten coatings for AWKTs don’t sound to their boxes within boxes for return.
rigidity. The voice-coil like is closed-back
uses high-purity 6N-OFC headphones—there’s CONCLUSION
copper (6N means six no sense of restraint Given the effects of running in these fine
‘nines’, so 99.9999% purity), or enclosure; they sound headphones, take care if you audition a pair
while the magnet system used entirely open, airy and widely which are fresh from their boxes, as what you
does specify the use of permendur, spread, presumably the result of hear may not be the ultimate sound that they
a ferromagnetic alloy of iron with cobalt, the capacious cups and Audio-Technica’s are capable of delivering. If they still impress,
which Audio-Technica says it sources from double-air damping system therein. however, the good news is that they will only
Germany for use in the ATH-AWKTs. They also appreciate the attention of get better. Jez Ford
Permendur is used in the medical industry a high-quality headphone output, though
(as well as in other applications) for the mag- they flattened-down less than some when CONTACT DETAILS
netically-guided transport of drugs through I listened via a run-of-the-mill midrange
Brand: Audio-Technica
the body to inaccessible crevices, and it is integrated amplifier’s headphone socket.
Model: ATH-AWKT
favoured for having one of the highest flux If you want their ultimate partner, I could
densities available in any commercially-avail- recommend no better than Audio-Technica’s Price: $3,499
able soft magnetic alloy—typically 2.3 to 2.4 own AT-HA5050H headphone amplifier, Warranty: One Year
Tesla, which is double that of neodymium. which sounds as gorgeous as it looks, were Distributor: Technical Audio Group
This combination of this high-strength you up for the additional not-insignificant Address: 43–53 Bridge Road
magnet with the 53mm diaphragm and the expenditure. Stanmore
6N voice-coil results in the Kokutans having For all the charms of these headphones, NSW 2048
a nominal impedance of 48Ω and a sensi- however, I had an initial problem with T: (02) 9519 0900
tivity of 102dBSPL @1mW. Their frequency their sound—this system’s promise of great W: www.tag.com.au
response is specified as 5Hz to 45kHz. bass wasn’t entirely delivered. The bass was
Nestled below the headphones in their natural, strong and certainly even, but never
tertiary wooden box is a small soft sack con- particularly full, so that many tracks lacked • Beautifully musical
taining the paperwork and two high-quality meatiness, while midrange voices had plenty • Luxurious design and feel
cables, which attach to both headshells using of clarity but often lacked the fullness neces- • Closed advantages
A2DC detachable jacks which click reassur- sary to create an illusion of reality.
ingly into place. Both cables are three metres Joni Mitchell’s vocal on her adult re-re- • Run-in essential
long, encased in a rubber-like synthetic cording of Both Sides Now, for example, was
polymer, one ending in a standard 6.35mm far too thin. But I noticed that this shortcom-
INTERVIEW
INTERVIEW
Ole Lund Christensen

ŗěiƯŢē ļƓŁƛƧěŢƛěŢŁƛƛŭŠěƧļŁŢĴŭĳðċŭŢðǠēěŗěĴěŢēŁŢ room in winter, and cost as much as the
average family car.
European high-end audio circles, because he’s an engineer At this time an American radio station
who is skilled in electronics, acoustics, mechanics and pro- wanting to buy the Sirius name from him
approached Christensen. He accepted the
duction technologies and has worked for literally dozens offer and changed his company name to the
even more appropriate GamuT. By the time
ŭĳļŁ͘ǠŠðŢƯĳðČƧƯƓěƓƛċŭƧļŁŢ͘ļŭƯƛěðŢēðƛð͢ĴƯŢĳŭƓļŁƓě̻ͣ the by-now-GamuT D200 Mk3 was launched,
the legend of this Danish MOSFET amplifier
Interview by Ian Kuah had been established.

This period also marked the debut of the
C
dual mono GamuT S300. Aimed at the US
hristensen made his “I worked hard on making my power am- market, it weighed 182kg. This behemoth
first mark in the audio plifier sound good even when it is clipping,” made such an impression on audiophiles
industry by designing says Christensen. “In my recording studio with its combination of natural sound and
the highly acclaimed days I learned the importance of nice-sound- effortless power that it is still spoken of with
Focus and PUK recording ing clipping. In the SLT 250 power amplifier great reverence to this day.
studios in his native Den- from 1982 we installed a very advanced clip- The product that Christensen said was to
mark during the 1980s. ping circuit in the input stage. This ensured eventually lead him and his company into
Amplification followed almost by accident as that the output stage never clipped, so it nev- trouble was a CD player. “German audio
he could not find units that met his expecta- er goes in and out of the feedback loop. This enthusiasts are keen on buying complete sys-
tions to power the integrated in-wall speaker clipper is not needed in the DM200 because tems from one manufacturer, so my German
installations he designed for these studios. the amplifier is extremely stable. This fine importer eventually badgered me into devel-
As has happened before in the industry, this stability also meant I could use a direct out- oping a CD player to match our pre-amp and
led to Christensen designing his own bespoke put without the industry standard coil and power amp,” he recalls. “At the same time he
amplifiers. He later began manufacturing a resistor pair in series with the loudspeaker.” suggested I should look at the German-made
domestic version of these amplifiers under The DM200’s combination of the open CD transport to use as a base,” Christensen
the name SiriuS, and these received high midrange and soaring highs of a valve continued. “The unit turned out to be very
praise in local audio magazines. In 1995 the amplifier with the iron-fisted bass control of good, so I requested that they make a version
SiriuS DM200 made its production debut as a transistor unit led to rave reviews in the for us with some improvements. This became
the world’s first ‘single MOSFET’ 200-watt per European press. Across the Atlantic, US audio our CD1. To my great surprise the review
channel power amplifier. journalists initially had problems understand- Harry Pearson did for The Absolute Sound
Single MOSFET? I’ll let Christensen ing that a 200-watt amp of this quality did proclaimed the GamuT CD1 as more musical
explain: “Single MOSFET here means that not have to weigh 50kg, heat your listening than his reference CD player.”
there was a single current path through one
MOSFET only from the positive voltage, and
another single MOSFET from the negative
voltage in a push-pull amplifier. This meant
that the task of measuring and selecting the
many matching MOSFETs in parallel that
normally share the current and power load
was no longer required. Today several compa-
nies manufacture amplifiers using my unique
MOSFET circuit, which uses just two driver
stages, one for each MOSFET. This design
removes the requirement for matching plus
and minus MOSFETs, both MOSFETs being
N-channel with no need for a P MOSFET
whose data characteristics are inferior.”
Inside Christensen’s power amplifiers were
some large capacitors in the power supply
that few other companies ever use. “Nobody
else seemed to want to pay the price” he says.
“They’re hospital grade emergency backup
quality capacitors. They are specified to
100kHz, whereas most large power capacitors
are not high frequency devices.”
INTERVIEW
“His reference was a Burmester 069, a two- guaranteed ongoing supply. With no warning in GamuT,” Christensen recounts. “I called
box CD player with a price tag that was I suddenly had a ton of faulty CD players and him and told him this was his chance to buy
multiples greater than the CD1.” no spare parts,” said Christensen. The cost to GamuT. We negotiated a deal to look after
The fallout from this glowing review fix the players was more than GamuT could my CD1 customers, and he paid a symbolic
in 2002 was huge demand for the GamuT afford, and Christensen was at the point sum for GamuT, created GamuT International
CD1, and that was where the trouble started. where he would have to either close down or which took over all the rights, solved all the
“About 50 per cent of the units developed find someone with the financial resources to technical issues with the original CD1 to
faults after about six months,” said Chris- buy the company and rebuild the CD players. create the Gamut CD1 Mk2 and everyone was
tensen. “Ironically, the rest were fine and I This is when Poul Rossing of Rossing happy.’
still have one which has performed perfectly Electronics, the Danish importer for Audio
for the past 18 years.” It turned out that the Research, Luxman, Cabasse and other well- INVESTIGATOR FOR HIRE
German manufacturer of his players had known brands, enters the story. Rossing Soon afterwards Christensen was headhunt-
been buying the CD transports from another was also the founder and owner of Danish ed as an investigator for a Danish invest-
German company, which in turn was having speaker manufacturer Avance Audio. He had ment incubator—the rung below a venture
them made in China. “Initially these were sold the Avance Audio trademark to his Chi- capitalist—looking to make an investment
replaced under warranty at no cost to us, nese importer and needed a new trademark, in consumer audio. “The incubator’s panel
but suddenly the flow of replacement drives specifically GamuT. “Poul had been negoti- of experts was an interesting combination of
dried up despite a clause in my contract that ating with me for some time to buy or invest engineers and financial specialists funded by
the Danish Government and Danish banks,”
says Christensen. “Their idea was to select
a university graduate with a bright idea and
provide funds to see if the idea would fly. If
it did, they’d then “sell” the person and the
idea to a venture capitalist to take forward
with the exit strategy being a stock exchange
IPO.”
“I must say I enjoyed the experience
immensely, especially because although I
visited big and small audio companies I was
not limited to the audio industry and had
the chance to interact with other disciplines,
such as hearing-aid manufacturers. Hear-
ing-aids are very profitable!” Christensen
found a few interesting potential candidates
during his two-year association with this in-
vestment organisation and they were happy
with that. “It was an eye-opener and I gained
a lot of knowledge about a side of my own
industry I had not really known in depth
before,” he reflects, “and while I have to keep
the information I gleaned confidential, I am
allowed to use the knowledge myself.”
ƧŠƐļŁŭŢ ļƓŁƛƧěŢƛěŢǠƓƛƧƛěƧðċŭƯƧČƓěðƧŁŢĴƧǇŭŢěǇ
ŗŭƯēƛƐěðŔěƓƛ̻ŢěǇðƛðŗðƓĴěƓǆěƓƛŁŭŢŭĳƧļěŁƓƛƯČČěƛƛĳƯŗVŭŢ
͒ðċŭǆěŗěĳƧ͓ǇļŁČļƧļěǍČðŗŗěēƧļěVŭŢi͒ðċŭǆěƓŁĴļƧ͓̻

OLE LUND CHRISTENSEN
“It was very interesting to learn from

these financial experts and see the world
through their eyes. A tome of wisdom I took
away from them was that it is easier to teach
an engineer finance than it is to teach a
financier engineering!”
Another conclusion Christensen reached
in the course of his work on this project was
that the speaker business is the most profit-
able segment of the audio industry. He says
the reason for this is that the products are so
different. “If a customer wants Quad electro-
statics they are clearly not going to compare
it with JBL Studio Monitors, only against
other electrostatic brands,” he says. “On the
other hand, for many people a power amp
is a power amp. While admittedly there are
differences in quality, most people can live
with them, except perhaps when you are at In January 2009 Christensen slipped on
opposite ends of the spectrum with a 25-watt the ice at Kuopio and fell heavily. After two
300B single-ended valve amp compared to a weeks on pain-killers an X-ray revealed that
1,000-watt solid-state amp. But generally the ‘A tome of wisdom I took he’d been walking around for two weeks on a
differences between amps of similar power
are much less than those between speakers,
away from them was broken fibular. Further investigation revealed
the break was likely due to a lack of calcium
and it is precisely because there is less com- that it is easier to teach in his bones, which his doctor suggested
petition between speakers that they are more could be corrected by a diet of fish and
profitable than electronics.” ðŢěŢĴŁŢěěƓǠŢðŢČěƧļðŢ exposure to sunshine. “There is not much
sunshine in Finland in winter, and I don’t
MOVING NORTH TO AMPHION ŁƧŁƛƧŭƧěðČļðǠŢðŢČŁěƓ like fish because when I was a young boy I
In 2007 Christensen was approached by
Anssi Hyvönen, the owner of Amphion. “So
engineering!’ almost choked to death on a herringbone,”
he explained. “So I took the doctor’s other
I thought why not go to Finland,” he recalls. recommendation and moved to a warmer,
“It was the depths of winter so I asked him sunnier place.”
how cold it was in Kuopio and how much
anti-freeze I should put in my car. He said it of the sound from the room. Also you can COLD CALLING AT CES
was –25°C, but by the time I arrived the big put a cardioid design reasonably close to a After leaving Amphion, Christensen literally
sign in the town that was both a clock and a wall because it does not radiate as much to cold-called around hi-fi manufacturers to
thermometer was displaying –39°C! I realised the rear and sides as a normal speaker.” offer the services of his company, Christensen
that if I switched off my engine it would be “This was all fine and good except that Audio [www.christensen.audio] including
over so I found an underground garage and Amphion wanted to increase their export at CES. He says his sales spiel was basically:
walked. I can tell you this was not pleasant sales, and a cardioid speaker is more expen- “Hello I’m a Danish audio engineer and I
at all. After half an hour the water in your sive to make in terms of components and have a team with a lot of interesting technol-
breath has frozen and you desperately want complexity. There were so many ‘normal’ ogies and products already developed that
to get inside. Interestingly my body adjusted speakers out there that what I thought they we would like to supply to companies with
to the extreme temperatures, and now the needed were more ‘normal’ loudspeakers to marketing channels already in place.”
normal cold we have in Denmark no longer reduce costs and increase profit margins.” He recalls that people reacted very
bothers me.” With this in mind Christensen says he positively. “Some of them knew me from
“After a couple of weeks at Amphion created 18 new speakers for Amphion while my work for the Danish investment fund or
I concluded that while they had good still keeping their unique waveguide for the from my GamuT days so I was not exactly a
products, they needed some new ones so I tweeter. He explains, “The ear is most sensi- nobody when I approached them.”
set about creating two new loudspeakers for tive between 2,000 and 4,000Hz… up to 8dB “Most companies want to keep the exter-
them as a matter of urgency. One was simply more sensitive, in fact. The advantage of the nal consultants behind such work a secret,
a larger version of their successful Ion, which waveguide design is that you can lower the feeling that it bolsters their reputation if peo-
we called the Ion L. The second was a D’Ap- crossover point to, say 1,600Hz or 1,200Hz, ple think all the ideas are generated in-house.
polito configuration floorstander that sold so the woofer is not in play at 3,000Hz with However, from a business perspective it is
at a very reasonable price. Both these new the result that you get increased clarity from actually cleverer to find someone who has
speakers began selling very well.” the lower distortion and a smaller moving already done the heavy lifting so you don’t
“At the time Amphion was heavily invest- mass.” have to reinvent the wheel and pick up the
ed in cardioid loudspeakers, which is a good “This advantage is emphasised at higher tab for doing so.”
design for certain types of room. If you have volume levels when the woofer begins to dis- “Your risk of failure is much lower if
a room with a lot of glass and concrete, as is tort. Thus when you play a two-way speaker you buy in ready-made expertise,” Chris-
normal in Finland, the cardioid speaker is an loudly the waveguide contributes to a major tensen explained. “Even the likes of LG and
excellent choice because the direct energy vs. increase in midrange clarity simply because Samsung do not make their own DVD and
total radiated energy is about 5dB better with you are not asking the woofer to deliver 30Hz
a cardioid design, so you hear about 5dB less and 3,000Hz at the same time.”
CONTINUED ON PAGE 114
TOP PICKS
BENNY WALKER FONTAINES D.C.

Chosen Line [Independent] A Hero’s Death [Partisan/Liberator]
On his smoky and raw—yet at all turns Year 2020 is officially the year of doom and
inescapably groovy—third album, Benny gloom, so it feels fitting that LP2 from these
Walker embraces the guitar as a tool to trailblazing post-punks would be distinctly
reckon with, affirm and (most importantly) crushing. The guitars are tuned low and
conjure emotions. He dips into funk territory simmer with a ghostly, almost unsettling
on the silky and upbeat All Ya Gotta Do Is angularity. The melodies they warble out
Call, loose and jangly noodling carried along are lustrous and catchy, but spun through
with a deep bassline and simmering keys; a filter of flagrance à la Grian Chatten’s
on I Don’t Blame You, where he pushes the dull, numbing howl that leaves the whole
subject to chase the fire in their heart, he digs deep into his own and affair feeling like a car crash that you just can’t help but stare intently
emerges with a downright gnarly solo. Most noteworthy is how much at. This all surely reads as negativity, but let us be clear: A Hero’s Death
ground Walker covers in the 14 tight and temperate cuts—from roaring is certainly worth diving into. It’s an album that revels in the kind of off-
blues and passionate soul to tender folk and rugged country, glimmers kilter garishness that a good horror flick does—certainly not for kids, and
of pop and that aforementioned funky spark: We’re treated to a wealth admittedly rather niche, but for those to whom it does appeal, there’s a
of ups and downs, almost all of them immediately captivating. damn good time to be had.
GEORGIA MARLEY IN HEARTS WAKE

Yearning [Hungry Time] Kaliyuga [UNFD]
Twirling dry, twangy folk guitars around With its predecessors focused on the
ethereal synths and clicky, minimalist Earth, sky and water elements, In Hearts
beats, Georgia Marley makes a strikingly Wake turn their enviro-conscious ire
sharp first impression on Yearning. towards the flames on Kaliyuga: the
The singer-songwriter deals in slow- world’s first carbon-negative metalcore
burning slithers of emotional intensity, record, and one of the Byron Bay
cut from the same cloth as indie quintet’s strongest efforts yet. It’s a
stalwarts such as Angie McMahon and fitting theme, given how absolutely
Gretta Ray, yet shining with a spate of scorching the riffs on this LP are. Strewn
tones and tenacity entirely of her own. From the simmering lull between the nu-metal spark of Crisis and the slick, acidic soloing
of What I’ve Realised to the crystalline bounciness of Radiators, on 2033 is a full spate of six-string sadism; standouts come in the
we’re taken on a colourful (if sometimes gut-punchingly gloomy) numbing final breakdown on Hellbringer, the Southern warbles
journey deep into the mind of a lovelorn storyteller with a on Crossroads and the all-authorative crunches on Force Of Life.
massively lucrative future ahead of her. Every dusty, angular Braided with luminous flickers of melody and groove, Kaliyuga
prong of her acoustic and low, luminescent hum rings out with shines as an exceptionally dynamic showcase of intense passion,
astonishing power; the spacial breadth of Marley’s soundscapes is emotion and talent. And, true to the band’s form, it’s gonna
truly transcendental. sound insane live.
OCEAN ALLEY STAND ATLANTIC

Lonely Diamond [Independent] Pink Elephant [Hopeless]
Despite coming out in the dead of Like the pop-punk greats in whose
winter, Ocean Alley have brewed up footsteps they follow, Stand Atlantic have
the perfect summer soundtrack in LP3, taken their coveted sophomore album
which was Triple J’s feature album in as a chance to build upon the nexus of
the week leading up to its release, and plucky, distorted hooks and booming,
co-incided with the release of the band’s singalong-ready choruses that made their
fourth single, “Hot Chicken”. Fuzzy, low- debut turn heads in 2018.
fi quips of ‘70s gel with blindingly bright The production is beefed up, the guitars
indie rock hooks, the whistling keys and are tighter (and on key cuts such as
punchy drums a radiant backdrop for Angus Goodwin’s sharp Jurassic Park and Hate Me, downright inhumanly catchy), and
and soaring leadwork to shine. His ripping solo on Way Down is scattered amongst the standard stack of 4/4 push-pit bangers are
an early highlight, but rest assured there’s plenty of kaleidoscopic a few left-field gems that highlight the sprawling scope of the
ebbing and flowing across this 45-minute mind-melter to keep Sydney foursome’s polychromatic chemistry—see Drink To Drown
fans old and new alike gripping their arm-rests. At times jammy and Silk & Satin especially. The way rifflord David Potter weaves his
and others jazzy—sometimes cool and sometimes chaotic—Lonely playingaround Bonnie Fraser’s every volatile howl and heartstrung
Diamond is not just the Sydney sextet’s most sonically diverse and twill is simply magical. Prepare to smash the heck out of your
interesting set of tunes to date, but is also undoubtedly their best. replay buttons.

ROCK ON
JOE SATRIANI JANUS STARK

Shapeshifting [Provogue] Angel In The Flames [Time & Matter Recordings]
With every new Satriani album we’re Perhaps more widely known for ripping
assured of killer tones, and strong tunes. up the fretboard with The Prodigy as
and this one has his trademark big riffs and that band’s touring guitarist in the
bigger melodies and he channels styles 90s, Graham ‘Gizz’ Butt’s impressive
from Chuck Berry all the way to modern punk roster goes back to the 80s and
rock. The title track sets the scene; the time includes the likes of English Dogs, The
signature may be waltz but the tone and Destructors, UK Subs and The Stupids.
octaves are proudly rock as Joe’s guitar Honing decades’ worth of chops in recent
blazes. Big Distortion is a new wave groover projects with goth rockers Fields Of The
with great melodies and punchy unison rhythms. The spacey All For Nephilim and German metallers Pyogenesis, Gizz’s innovative style
Love has a half-time feel that his guitar sings high over. Ali Farka, Dick has been flawlessly captured on Angel In The Flames—a virtuosic
Dale, An Alien And Me has a hiccupping groove, euphoric tremolo punk-metal masterpiece you can even hum along to (or as Dave
picking, sliding melodic phrases and ambient sonics. Teardrops is Grohl recently put it, “A great melodic kick up the arse.”) Just check
stripped back and sultry, brimming with blues sass. Nineteen Eighty is out the stand-out track, Crucify All the Leaders, which, in these
appealingly big and rocking, and check out the last track! Covid-19 Trumpian et al times, should be a real call to arms.
GORDON GILTRAP KING SOLOMON HICKS

Woman [Angel Air] Harlem [English Electric]
Gordon Giltrap has been a revered Hicks has been playing guitar since the age
acoustic virtuoso for decades. Woman, of six. He was regularly seen at Harlem’s
his latest release, is a 14-track album famous Cotton Club with its in-house
dedicated to remarkable women. 17-piece band, studied at Harlem School Of
Armed with rich-sounding acoustics and Arts and then played in Europe, including
his trademark pick and fourth-finger opening for Jeff Beck and Ringo Starr. What
technique, it’s an endearing journey of makes his debut notable is it’s the ‘good
mainly solo guitar. Giltrap has a wonderful stuff’ where blues, R&B, jazz and gospel
way with harmony; he has a strong Celtic meet, all courtesy of growing up in Harlem.
sensibility linked with folk and classical-like foundations producing The 11 tracks brim with soulful guitar work that crackles with energy
a sound that makes you want to join him on a musical journey. and taste. Imagine Robert Cray meets BB King. He’s smooth and savvy
The Anna Fantasia features guitar and (cathedral) organ playing in when riding sweet melodic lines over a good groove (very BB!). He
harmony, evoking long ago times. Rachel’s Reflections swirls with can dig in too, like Chuck Berry; his guitar on Everyday I Have The Blues
picking patterns and chord shifts that evoke an almost pianistic barks out great lead licks graced with a rich vibrato. What The Devil
sound. Fiona’s Smile is like a lilting jig, brimming with rich chords Loves has an infectious toe-tapping feel to it, sung with conviction. For
and warm tone. The Stars Look Down On Linda features ringing the swing blues of 421 South Main his guitar is right up front, making
strings, cascading lines, sonorous low notes and chiming harmonics. bold statements with bite and punch. By any measure, Harlem is a very
Throughout, Giltrap reminds us all of the joys of pretty picking! strong album and Hicks really is one to watch out for.
RICHARD THOMPSON ALBERT CUMMINGS

Live At Rock City [Angel Air] Believe [Provologue]
Richard Thompson (OBE) burst onto the Bluesy Strat players are pretty common
scene in the late 60s as the lead guitarist these days. But what makes Albert
and songwriter for the famous UK folk/rock Cummings stand out is the variety
group Fairport Convention.There are two of songs on offer here, with guitar
contrasting sides to Richard Thompson’s tones that evoke Strat icons such as
music: his fiercely introspective solo Robin Trower, Rory Gallagher and SRV.
acoustic work and the effervescent band Among the 11 songs is Sam And Dave
stuff that we find here. The ensemble that classic Hold On (the album’s opener),
accompanies Thompson on this previously the raucous rocker, Red Rooster and
unreleased two-CD live set includes Christine Collister (guitar/vocal), funky closer, Freddie King’s Me And My Guitar. Albert, with his
Clive Gregson (guitar, organ, vocal), John Kirkpatrick (accordion), heavy-gauge strings and a singing approach to soloing, gives
Rory McFarlane (bass) and Gerry Conway (drums). The material guitar fans plenty to latch onto. Although undoubtedly a blues
draws in part from Thompson’s 1986 “Daring Adventures” album guitarist, Believe has a heavy dose of soul, courtesy of the fat
with the tracks A Bone Through Her Nose, Jennie, Nearly In Love, and Al rhythm section and (perhaps) the fact that he recorded it at
Bowlly’s In Heaven scattered through the set. But those who favoured Muscle Shoals, Alabama. As for soloing, Albert’s keen on taste and
Richard’s work with his ex-wife Linda Thompson won’t go away from passion; his string bending, vibrato and slippery fretting is really
this album empty-handed as the excellent Richard and Linda track quite something. If you want great, song-focused guitar-playing,
Shoot Out The Lights gets an airing here, too. strong grooves and rich vocals, Albert is your man.

MIXED BAG
BLACK SWAN GEOFF TYSON

Shake The World [Frontiers] 'ƓŁŢŔƛÚŁƧļVŢǠŢŁƧǍ[Geoff Tyson Music Records]
This may be a new rock band to you but if Geoff Tyson was a student of Joe Satriani
I mention it has Reb Beach on guitar, you and then guitarist for the early 90s band,
should become curious. This is straight down T-Ride. Geoff is back out with this new
the line, hard rock with big vocals, blazing instrumental album and those chops are still
leads and tasty harmonies. Alongside Reb there. Over ten tracks, Geoff runs the gamut
is Jeff Pilson on bass, Matt Starr on drums of soaring leads, racing legato phrases,
and Robin McAuley on vocals. The title track bluesy licks and vibrant acoustic guitar work.
opener’s doom-laden opening morphs into It’s an appealing mix, perfect for car journeys
a pounding down-picked riff; the solo blazes or focused listening as Geoff creates strong
bigtime with pick tapping and legato runs, while Johnny Came Marching melodic hooks and improvises around themes. Opener Six Weeks Of
has some gnarly wah licks from Reb. It’s not all pounding riffs though, as Tina is an uptempo stomp with vibrant lead guitar throughout. Shag is a
the ballad Make It There is rich with keys and an eighth-note 80’s-styled filthy grunger as Geoff riffs and soars over the track. Strawberry Napalm
bass line. Talking of 80s, GN’R fans will love She’s On To Us—a peachy offers unique harmonic context and some exciting lead lines from Tyson,
low riff graced with screaming wah lines. If a new hard rock act is what while Are You With Me? is a tasty ballad. If you find the new generation
you crave, check out Black Swan! of rock instrumentalists to be somewhat devoid of melody, listen here!
ERIC CLAPTON & BB KING MICHAEL LANDAU

Riding With The King [20th Anniversary Edition] Liquid Quartet Live [The Players Club]
It certainly doesn’t feel like 20 years ago When James Taylor refers to someone as
that Eric Clapton and BB King teamed up “the complete virtuoso” backed up by
to make this album, which picked up a Steve Lukather saying, “he is one of the
Grammy for “Best Traditional Blues Album” finest players in the world” you know
when it was released in 2000. In celebration, they must be talking about someone
Reprise has re-mastered the original and pretty special. They were talking about
thrown in a couple of previously unreleased Michael Landau, who has enjoyed a
tracks for good measure, so Muddy Waters’ stellar career playing with a Who’s Who
Rollin’ And Tumblin’ and Willie Dixon’s Let of music’s elite, including Joni Mitchell,
Me Love You, Baby, both recorded at the time, now join the ranks. Ray Charles, Miles Davis and Pink Floyd, among many others.
The former finds Clapton working out on acoustic slide with King In November last year Landau took his band to LA’s infamous
punctuating every phrase as only he could. The Dixon classic is medium- Baked Potato club and delivered a blues-driven set featuring
paced with both guitar men taking passionate solos and, despite King some of his back catalogue, peppered with a few new tunes, such
claiming post-take that he “screwed up in a couple of places”, it sounds as the fantastic Well, Let’s Just See and the inspired Can’t Walk
great to me. Don’t look for Clapton stretching out, he’s mostly content Away From It Now. Needless to say the guitar work throughout is
to play second guitar to his idol, and sing a little on what’s probably the immaculate—check out the frenzied soloing on Greedy Life, and
bluesiest album he’s ever been on. The standout track for me is King’s the stunning Killing Time. This album is a six-string tour de force
classic, Three O’ Clock Blues. that I can recommend most heartily.
PAT METHENY SONS OF APOLLO

From This Place [Nonesuch Records] MMXX [InsideOut Music]
The care that goes into any Metheny The prog-metal supergroup is back with a
creation warrants deep submersion. new album, MMXX, that thrills with almost
His new album From This Place is no an hour of power riffing, blazing solos
different. With a core of Antonio Sanchez and searing vocals. Their stylistic breadth
on drums, Linda May Han Oh on bass is breathtaking, from the ominous build
and Gwilym Simcock on piano, its on Goodbye Divinity, to the staggering
harmonic palette and deft arranging 16-minute closer, New World Today. Within
make it so much more than just a ‘guitar the quintet is Bumblefoot, who plays guitar
album’. That said, Metheny’s Ibanez’s on a par with Guthrie Govan; precisely, fast
hollow-bodied tone is at the heart of the music and his playing and with great imagination. He can match the blazing synth chops of
remains a masterclass as he slips and slides around with a jazz- Derek Sherinian and they trade off in ways that few bands outside of
blues zest that evokes Wes Montgomery and Jim Hall. This could Dream Theatre can pull off; on Wither To Black, Derek’s synth blaze is
be classed as social art music, but that would suggest you need a followed by Bumbelfoot’s stunning chromatic flurries over a pounding
weighty musical education to enjoy it; not so, this is for everyone. half-time groove from Mike Portnoy and Billy Sheehan. Binding the
America Undefined is a staggering piece that keeps growing, four instrumentalists is singer Jeff Scott Soto who has a rich vocal style
while the title track is beautiful, with both band and an orchestra that straddles rock and metal with aplomb. While he can scream, his
supporting Meshell Ndegeocello’s vocals. If you’re a glutton for performance on the ballad Desolate July is passionate. Fall To Ascend
Metheny ballads, the closer Love May Take A While will take you for has one of the most jaw-dropping extended sections, as Derek and
a seductive sonic ride. Utterly gorgeous. Bumblefoot weave and blaze. Buy to be astounded and inspired!
104 Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

Absolute.
“... the best-looking, best-built, best-sounding
speakers I have had in my listening room.”
John Atkinson – Stereophile
“...it showcased the capabilities of a

manufacturer whose obsession with quality in
design, materials, circuit concept, fit, finish, and
musicality borders on the religious.”
Rafe Arnott – Part-time Audiophile
The unique design of VIMBERG loudspeakers is

based on the most essential concept: reproducing
sonic performance in the most realistic way, while
the speaker itself is out of the way of the music as
an audible invisible messenger. Since there is no
closer and more intense way to connect with the
artist, the event, the music itself.
Aluminium, copper, silver, diamond, ceramic,

piano lacquer – and much more are the materials
we use to design and build a VIMBERG
loudspeaker perfectly melded together to
deliver a masterpiece of sound and vision.
Experience the new benchmark
WWW.RECORDCLEAN.COM.AU | WWW.TIDAL-AUDIO.COM GROOVEWORKS@DCSI.NET.AU

TEL: +61 0414 755 960 | PO BOX 308 NEERIM SOUTH | VICTORIA 3831 AUSTRALIA
SERVING
AUSTRALIANS
FOR MORE
THAN 30 YEARS
We have developed a reputation for our
expertise in high-end 2 channel audio
since 1987. Today, not only do we continue
our tradition of high-end audio, we also
specialise in smart home solutions. Speak
to our experienced team who can consult,
design and install the perfect smart home
solution for you.
Services we provide:
• Audio Video Setups • Home audio visual
• Acoustic treatments cabling advice
• Two channel and multi • Home security and
channel audio solutions access control solutions
• On-site consultations & • Full wiring schematic
advice on technologies drawing documentation
to suit your home and plans
• Wi-Fi and internet • Project Management –
solutions working with all trades
• Installation services involved
• Smart home solutions
OUR BRANDS Arcam · Autonomic · Ayre · Burmester · Clearaudio · Control4 · D’Agostino · Dali
DCS · Definitive Technology · Denon · GoldenEar Technology · Flexson · Gryphon · Hegel · KEF
Lilin Security · Linn · Lyngdorf · Mark Levinston · MBL · Nordost · Padimount · Revel · Sonos
Sony · Steinway Lyngdorf · Pass Labs · Pathos · T+A · TruAudio · VideoStorm · VTL · Wilson Audio
Audio Connection Leichhardt Contact

Unit 3-4 / 509-529 Parramatta Rd Phone: 02 9561 0788
(Cnr Parramatta Rd & Elswick St) Email sales@audioconnection.com.au
Leichhardt NSW 2040 Web: www.audioconnection.com.au
SILENT ANGEL N8
HIGH-END AUDIO NETWORK SWITCH
The Bonn N8 Switch improves network
signal quality by incorporating a better power
signal, and advanced TCXO technology.
With 8 high quality gigabit Ethernet ports,
the Bonn N8 Switch makes it possible for the user
to connect to all their network audio/visual devices
at once. Via these network signal improvements,
the Bonn N8 Switch offers significant enhancement
in music streaming playback through any streaming
services or your NAS Drive.
+ Z1
YOUR HIFI SPOT
WEISS DAC 501 AND 502 The DAC501 / DAC502 are the new state of the
art D/A Converters with an unprecedented level of
sophistication and versatility.
P 03 9578 8658 M 0403 368 755 Visit us 224 McKinnon Road, McKinnon VIC 3204 www.soundgallery.com.au info@soundgallery.com.au
Buy your award-winning
products here
Experience one of Australia’s Top On-Line Audio

Retailers or visit our store for the best home
entertainment advice and service.
With almost four decades of experience and a range of industry leading brands
under our belt, we offer great solutions for audio and AV coupled with genuine
realistic advice and great prices making Eastwood HiFi the place to shop.
Listen and
view in the
comfort of one
of our lounges,
discuss the
best set-up to
suit you or visit
us on-line.
Store and Unit 16, Q North Business Centre

sound lounges 829 Old Northern Road | Dural NSW 2158
located at: 02 9651 4922 eastwoodhifi.com.au
Experience Australia’s ONLY
Audiophile Music Store
SINCE 2011
COME AND VISIT US AT OUR STORE IN CHELTENHAM

Or visit us online at any time: Audiophile Reference Recordings has
www.audiophilereferencerecordings.com.au been operating since 2011 and carries the
biggest collection of carefully selected
audiophile quality recordings (both
AUDIOPHILE REFERENCE RECORDINGS OPENING HOURS
Level 1, 1277 Nepean Highway,
vinyl records and CDs) of all genres in
Tue to Fri: 12.00 noon – 6.00pm
Cheltenham Victoria 3192 Sat: 10.00am – 4.00pm Australia. Every item is new and we also
Telephone: 0411 261 822 Sun, Mon, Public Holidays: Closed stock all things to help you improve your
Telephone orders are welcome Website: Always Open experience with vinyl…
A WORLD OF HOME ENTERTAINMENT

PARASOUND | KEF | ELAC | BOSE | PROJECT | REGA | QUESTYLE | SONOS | CHORD | HEOS | MARANTZ | CAMBRIDGE AUDIO AND MORE!
We are the longest established Hi Fi business Visit us at 283 Victoria Rd, Marrickville NSW 2204
MRXLIWEQIPSGEXMSRMR7]HRI]%PPSJSYV P 1300 MY HIFI 1300 694 434
TVSHYGXWEVIKIRYMRI%YWXVEPMERWXSGO[MXL E WEPIW$ETSPPSLMƤGSQEY
%YWXVEPMERQERYJEGXYVIVŭW[EVVERX] W [[[ETSPPSLMƤGSQEY
.HLWK0RQNVEUHDNVWKHSULFHEDUULHU
IRUSUHFLVLRQUHFRUGFOHDQLQJ
7KH.HLWK0RQNVFRPSDQ\KDVEHHQPDNLQJUHFRUGFOHDQ
LQJPDFKLQHVVLQFHXVLQJDSUHFLVLRQSRLQWVXFWLRQV\V
WHPWRTXLHWO\FOHDQUHFRUGVPRUHWKRURXJKO\WKDQDQ\RWKHU
WHFKQLTXH
1RZWKH\KDYHSURGXFHGDPDFKLQHWKDWXWLOLVHVWKHSRLQW
VXFWLRQWHFKQLTXHDWDSULFHSRLQWPXFKORZHUWKDQSUHYL
RXVO\SRVVLEOH
:KDWLV3UHFLVLRQ5HFRUG&OHDQLQJ" 7KH3URGLJ\SUHFLVLRQUHFRUGFOHDQLQJPDFKLQH
$WLQ\SUHFLVHVXFWLRQWLSVFDQQLQJDFURVVWKHGLVFDOLWWOH 8QLTXH8QLYHUVDO'LVF&OHDQHUIRU UHFRUGVDQG
DWDWLPHUHPRYLQJHYHU\ODVWWUDFHRIFRQWDPLQDWHGIOXLG GLJLWDOGLVFV
HVSHFLDOO\WKHPROGUHOHDVHRLOVIURPWKHSUHVVLQJ 1HZ8QLTXH7KUHDGOHVV3RLQW6XFWLRQV\VWHPIRUHDVLHU
VWDPSHU1RLVHUHGXFWLRQLVRIFRXUVHLPSRUWDQWEXWUH HYHQEHWWHUSHUIRUPDQFH
PRYDORIRLOVDQGUHVLGXHVLVWKHELJJHVWEHQHILWRISURSHU %UHDNLQJWKHSULFHEDUULHUIRU3UHFLVLRQ5HFRUG&OHDQLQJ
UHFRUGFOHDQLQJ 3UHFLVHSHHUOHVVO\HIIHFWLYHZDVKDQGGU\RQHWXUQDW
5HPRYLQJRLOVIURPRXWJDVVHGPDWHULDOVDQGH[FHVVPROG DWLPH
UHOHDVHDJHQWVIURPWKHRULJLQDOPDQXIDFWXULQJQHZHU %RWKVLGHVRIDQ/3FOHDQDQGUHDG\WRSOD\LQXQGHUPLQ
DXGLRSKLOHSUHVVLQJVEHLQJDSULPHH[DPSOHDOORZVWKHVW\ =HUR5H&RQWDPLQDWLRQHYHU\UHFRUGHYHU\WLPH
OXVWRWUDFNWKHJURRYHPRUHIDLWKIXOO\RSWLPLVLQJWKHFODULW\ 6XSHU6LOHQWRSHUDWLRQSOD\PXVLFZKLOHFOHDQLQJ
RIVRXQGDQGDOORZLQJWKHUHVWRI\RXUZRQGHUIXOV\VWHPWR &RPSDFW[FPIRRWSULQWIRUHYHQWKHVPDOOHVWKRPH
UHDOO\VLQJ 3HUIHFWIRUFXVWRPHU',<FOHDQLQJLQVWRUHRUWRUHQWRXW
3UHFLVLRQ5HFRUG&OHDQLQJUHVWRUHVDQGSUHVHUYHV\RXU &RROUXQQLQJ9IRUXVHZRUOGZLGH
WUHDVXUHGUHFRUGVDQGDOVR\RXUSUHFLRXVVW\OXV 7KHRULJLQDO%%&0RQNVV\VWHPWUXVWHGE\WKHZRUOG¶V
6DIHSURYHQPHWKRGDQGUHVXOWV JUHDWHVWOLEUDULHV
<HVPLUDFOHVGRWDNHDOLWWOHORQJHUEXWORQJHUPDNHV )URPWKHLQYHQWRUVRIHOHFWULFUHFRUGFOHDQLQJPDNLQJUH
SHUIHFW$QGZLWKWKHDXWRVKXWRII5HGX[PLFUR/LJKWRU FRUGVVRXQGHYHQEHWWHUVLQFH
GURSGRZQVXFWLRQZDQG3URGLJ\IRUXQDWWHQGHGFOHDQLQJ 7KHZD\WKHSURIHVVLRQDOVGR
\RXUHDOO\ZRQ
WQRWLFH$QGDVLWLVTXLHW\RXFDQEHSOD\LQJ LW0LQLDWXULVHG
\RXUIDYRXULWHPXVLFZKLOH\RXFOHDQ
.HLWK0RQNVGLVF2YHU\1DWXUDO3UHFLVLRQ5HFRUG&OHDQLQJ
THE NEW HDI SERIES
ARRIVING SPRING
www.convoy.com.au/jblhdi
Proudly distributed by Convoy International | 02 9774 9000 | www.convoy.com.au

BUY/SELL
www.sydneyaudioclub.org
enquiries@sydneyaudioclub.VYNH\
A Series
Established in 2004 we have spent the last 15 yearT bringing expert

advice and service for Hi End Audio & Visual Sales, Installation and
repairs working with our customers to get the best possible solution
www.classaaudio.com.au at the best possible price.
8/585 Blackburn Road · Notting Hill VIC · 3168 03 8555 0735 · sales@classaaudio.com.au
M10 BluOS Streaming Amplifier
The best quality of music is now delivered over the internet.
Not only does it sound better, but entire catalogues of recorded
music are more accessible than ever before.
HybridDigital ™
$250 CASH-BACK
Now extended until 30 September 2020!
Visit www.nadelectronics.com.au/m10cashback for details. T&Cs apply.
Proudly distributed by Convoy International | 02 9774 9000 | www.convoy.com.au

OLE LUND CHRISTENSEN
CONTINUED FROM PAGE 101
Blu-ray players, and use a third anonymous “In one case I had to recommend that
company to make the products for them. the company increase its price by roughly
This makes commercial sense because every a factor of 10 because the maximum world
time you double production numbers the market volume was very small. But even
unit cost is dramatically reduced, which then it was still very competitive because it iron as the molecular structure that comprises
helps them compete with the Japanese. In was originally very under-priced considering graphite mixed with silicon and iron is far
fact back in the 1970s almost all the Japanese its abilities.” too complex. But 3D printing is used to create
manufacturers used the same external suppli- “What many people continue to under- an initial prototype shape used to cast from,
er for their cassette mechanisms.” estimate is how small the market is for very although it is of poor quality.”
His cold calls bore fruit. “I was hired to expensive esoteric products,” says Chris- “In fact it is difficult to cast the actual
solve various production and sales problems tensen. “The high-end segment is really very, speaker housings,” he continues. “Once the
by several companies,” Christensen contin- very small compared to the market for Bose tooling is made the major problem for the
ued. “Sometimes it was simply a matter of or Sonos.” casting people is ensuring that the molten
helping them with their price calculations “In fact things have only got more insane iron flows into all the corners and cools uni-
which is especially difficult when you start in terms of price differentials,” he explains. formly before the sand around it collapses.”
exporting to unfamiliar markets. You really “If you have visited Munich High-End in the Initially the Jern satellite speakers were
have to know how to price your products. last few years the prices attached to products paired with a REL T5i subwoofer, but at Mu-
For instance understanding how to ship in the glass rooms upstairs have gone up and nich High-End 2019 Jern debuted its own cast
a product to Japan and still make decent up. While not trying to justify the telephone iron subwoofer. “I use a hospital grade mains
money was a very strange concept for many. number prices Christensen is firm that the inlet filter in this subwoofer to optimise per-
The shipping company has to make money, prices are simply an example of the law of formance as much as I can,” he says.
duties and insurance have to be paid, the supply and demand. “Nobody is forcing
importer has to make money, and then a anybody to buy these products,” he says. HIS NEW VENTURE
wholesaler has to make money too, because “People should stop bitching about prices. When he heard that GamuT had ceased mak-
in Japan a lot of the business goes through After all, nobody complains about the price ing and selling electronics Christensen de-
wholesalers. Next the dealer has to make of a McLaren P1 or LaFerrari, which both cided to get back into the amplifier business,
money and at the end of it all there is sales sold out within days of being announced.” and formed a new company to do this, while
tax. All these things nibble away at your at the same time finishing a successor to the
bottom line and make a very big difference JERN D200 power amplifier that he had slowly been
to how much you have to add to your export For the last two Munich High-End shows I fettling on and off between other projects.
price.” have found Christensen on the front line with “I always wanted to take the D200 to the
his musically transparent Jern 14 speakers. next level, so for now I am using the working
Working with grey cast iron is a revelation as name of DM200 to emphasise the Dual Mono
this very dense metal is an inherently acous- design,” he says. It’s so dual mono that it even
tically inert material. But it comes with its has two power cords. “The new DM200 amp
‘Nobody is forcing own set of problems not the least of which is

the need to get the casting process absolutely
will be close to the M250 in terms of power
at 2ȍ, and slightly better in overall perfor-
anybody to buy these spot on. mance.” Christensen says the printed circuit
“When I get a new idea for a shape for a boards he is using in his new DM200 can also
products. People should cabinet it takes six months to get a prototype be used to upgrade existing GamuT and SiruS
because that’s how long it takes to make the power amplifiers.
stop bitching about tools for the casting,” Christensen explains. Christensen’s original plan to debut
prices. After all, nobody “And I am not allowed to make a mistake

because that would throw a large amount of
both his new company and the new
DM200 at Munich High-End 2020 was,
complains about the price money down the drain and trigger the restart unfortunately, thwarted by the Covid-19
of another six-month long project.” pandemic. So for the present he, and all of
of a McLaren P1.’ “Unfortunately we can’t 3D-print grey cast us, will have to wait. Ian Kuah

8 + 8 + & # 7 & + 1 K AYA 2 5 ENJOY YOUR MUSIC MORE
6 4 # 0 5 2# 4 ' 0 6 $ ' # 7 6 + ( 7 . 5 1 7 0 &
Designed for smaller spaces, KAYA 25FGNKXGTUCƂPGFGVCKNGFVTCPURCTGPVUQWPFQPC

scale that belies its compact dimensions. Drawing visual inspiration from our bestselling
18#. TCPIG CPF U JCTKPI VGEJPQNQI[ YKVJ QWT CNNEQPSWGTKPI )+;# NQWFURGCMGTU
-#;#KUVJGOQUVCEEGUUKDNGYC[VQDTKPIVJGVTCPUHQTOCVKXG8KXKF#WFKQCRRTQCEJ
to the music you love the most.
“High End Sound at an affordable price”
6JG-#;#KUCVYQYC[URGCMGTYKVJVJGCNNQ[EQPGF%&FTKXGWPKVJCPFNKPI
DQVJDCUUCPFOKFHTGSWGPEKGU#FQRVKPICVGEJPQNQI[RTGXKQWUN[WUGFQPN[KPQWT
)+;#DCUUFTKXGTUVJGFTKXGTKUƂVVGFYKVJCTCFKCNTCTGGCTVJOCIPGVYJKEJGPUWTGU
clean, transparent sound right to the top of its range. The laws of physics (which we’re
DQWPF VQ QDG[ FKEVCVG VJCV CV VJG WRRGT GPF QH VJG HTGSWGPE[ TCPIG VJG UQWPF
DGEQOGUOQTGHQEWUGFCPFFKTGEVKQPCN6QOCVEJVJKUVJG&VYGGVGTKUOQWPVGFKP
CUJCNNQYYCXGIWKFGGPUWTKPIVJCVVJGUQWPFƂGNFTGOCKPUEQORNGVGN[UGCONGUU6JG
effect is a compelling listening experience that holds your attention and draws you into
Proudly distributed in Australia by Avation the music: perfect for more concentrated listening, and enjoying music with nuance,
For more information visit www.avation.com.au depth and complexity.

Australian HiFi - September 2020

Uploaded by

Copyright:

Available Formats

Australian HiFi - September 2020

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Australian HiFi - September 2020

Uploaded by

Copyright:

Available Formats

What speakers are reviewed and compared?

What speakers are reviewed and compared?

What is the editor thinking about going into the hi-fi manufacturing business?

What is the editor thinking about going into the hi-fi manufacturing business?

LEGENDARY SOUND. SINCE 1946.

YOUR MUSIC AND MOVIES COULD

B&W 702 MICHI

additional $1,600? reviewed & tested!

Ph: 02 9561 0799 | www.advanceaudio.com.au

GETTING INTO THE

Future Publishing Australia

North Sydney, NSW 2059

Future plc is a public Chief executive Zillah Byng-Thorne

CONTRAST AUDIO LENS

A&FUTURA SE200 of GrizzlyWorks, which distributes Contrast Audio in Australia.

For more information, contact BusiSoft

06 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

GLOBAL AWARDS 2020-21

TESTED BY THE EXPERTS Q WWW.EISA.EU

08 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

INTRODUCING THE NEW

Proudly distributed by 02 9774 9000 | www.convoy.com.au

TRIO OF KLIPSCH T5 II TRUE HANA UMAMI RED

For more information, call QualiFi on (03) 8542 1111

10 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

MAGICO M9 provided in its own enclosure and requires

$XGLRVSDFH$XVWUDOLD3W\/WG $9&HQWUH $)XWXUH6KRS 6LPSO\+L)L .&$XGLR

12 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

Designed and built by hand in Ljubljana, Slovenia, the Holbo turn-

The REF160S belongs in

synergyaudio.com | 03 9459 7474

COLOURFUL KIWI headphone ampliﬁer to drive their front-panel headphone socket.

For more information,

14 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

TURNTABLE you need to add another 4cm to account for

16 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

point (= balanced point) is at the middle of

high quality of all the that Yamaha must be supplying completely

18 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

Len Wallis Audio

VISIT OUR STORE!

www.eastwoodhiﬁ.com.au www.audiophilereferencerecordings.com.au www.krispyaudio.com.au

20 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

Introducing the NEW 600 Series

For more information or to ﬁnd you nearest

(For confused readers, Barbarian is a

22 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

REPORT vanishingly small, as you can see from

With a connection to a computer via USB,

The effect was subtle, and the B3 buds

26 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

We know they’re not sexy,

BE SAFE INSTEAD OF SEXY

Boxy, but good

Distributed by Audio Marketing / www.audiomarketing.com.au / 02 9882 3877

To double-check the test setup, I then

28 | Australian Hi-Fi ˹˹˹Ɩ˹ǒatǒiǞƖƋɁȧʤaustralianǒiǞ

All models come in ceramic or diamond edi-

As the world shifts at this demanding time, we

$XGLRVSDFH$XVWUDOLD3W\/WG $9&HQWUH $)XWXUH6KRS 6LPSO\+L)L .&$XGLR