True and consistent with his minimalist design philosophy of “Only the simplest can accommodate the most complex,” Junji Kimura of 47 Labs develops his products to have the highest performance possible with the fewest parts; and he does it in such a perfectionist stance that it’s often accomplished at the detriment of user conveniences. For instance, the Gaincard has only 9 parts per channel and the world’s shortest signal path of 32mm including the length of parts, but the featherweight body of the 4706 Gaincard S amplifier was problematic in my 2002 review of it.

Now, Junji coalesced the structures of two 4700-50 Power Humptys with complete mono construction and separate power supplies onto a resonance dispersing acrylic, aluminum and stainless steel platform housing an extensively streamlined Gaincard and out comes the 34-pound, 4739 Fudou. The word “Fudou” means “un-moving” and this time I completely agree. The result is a much heavier version of the Gaincard S that can withstand the heaviest of cables, at the same time increasing the impedance capability to 70 watts-per-channel at 4 ohms.

To be certain, all this is tremendous good news that all audiophiles can rejoice to, even though the Junji-sque, spade-only clamp-down speaker terminal remains. Junji fitted such a clamping rod over the speaker area with three vertical screws per channel that overhead space is an absolute necessity to access the connectors. This makes putting the 4739 onto open floor space or the top shelf a necessity.

Bearing a kindred spirit with the folks at Pass Labs, Junji is an analogphile at heart and it shows even in the world-class PiTracer CD transport, in which the laser emitting and reading mechanism is incorporated into a hovering, solid block of extruded aluminum above the upside down CD on the spinning platter. The result was an ultra-powerful CD transport that makes most others sound undernourished. Now, only if Junji could add SACD capability to it and a new SACD/USB DAC that also feeds on the Power Dumpty cylindrical power supply. Wouldn’t that be something? I can still conjure up the memory of his dual-mono, zero-oversampling, digital filterless Gemini DAC and PiTracer in my system.

Sonically, the 4739 Fudou is a marked departure from that of the Gaincard S. Devoid of any features and superfluous part counts, the Gaincard S flaunted a sound so unhinged from the world of high-end audio that were it not for its underpowered slimness in the presence of power hungry speakers these days, it would’ve been a fantastic reference of neutrality. The Fudou is not of the same vein.

If the Fudou was to be assigned a perfect loudspeaker, the 86dB/8 Ohm Quad ESL 2812 would be it. With an internally charged static transducer system, the Quad was found to be a tonally flamboyant speaker with a mild dynamic temperament. It would ultimately only go so loud even as beckoned by the likes of the Pass Laboratories XA200.8 pure class A solid-state monoblocks. The Fudou, then, never had to push itself beyond what its 45 watts at 8 ohm could deliver where the Quad was concerned. Achieving 82dB of constant sound level at the listening position, the Fudou had reached its peak performance in driving the Quad ESL.

As funneled by a complete, $75k of MIT Cables Oracle system with the Audio Reference Technology corps d’elite empowerment in the forms of two Analyst SE ($7,300 each) and two Super SE ($2,950 each) power cables and the Power Distributor, the Bricasti Design M1 dual-mono DAC and Pass Laboratories Xs Preamp put together a consummate display of uncanny beauty in moderation. For my late night listening sessions, this was perfection. But because of its pleasant midrange and delicate top-end, the Fudou gave the Quad exactly that layered spatiality and intricate tonality that allowed the speakers to showcase its advantages.

After the Quad ESL2812 came the $30k, 88dB/4 Ohm Technical Audio Devices Laboratories Evolution One, and this speaker presides at the very far edge of the Fudou’s 70 Wpc/4 ohm performance envelope. The coaxial Coherence Source Transducer (CCST) of the TAD-E1 is a marvel of the coaxial technology that I have been craving for and found fulfillment in the Tannoy Churchill Wideband of late, followed by the Westminster Royal SE. The Churchill spent five years in my system while the Westminster, three, but I have experienced the point source manifestation at its highest form in the TAD’s CCST driver technology. The Fudou compelled it to blossom.

In my 14′ x 30′ x 9′ room, via the $9k Fuuga moving-coil cartridge in the company of the $18k Spiral Groove Revolution turntable system and the Pass Labs Xs Phono, the $10k 47 Laboratory 4739 Fudou drove the TAD-E1 to 85 peak decibel in realizing the sonic splendor of the MFSL Alan Parsons Project I Robot GAIN 2 Ultra Analog Numbered Edition 45rpm 180g 2LP set. Contrasting the gentlemanly Quad ESL 2812, the TAD-E1, still in my system as of this writing, represents quite the vanguard in dynamic delivery and sheer awe.

The Fudou attained superb definition reminiscent of the Gaincard S in driving the TAD and displayed a tonal affinity towards the likes of Electrocompaniet, slightly soft and impressively spacious. Pushing the Fudou to beyond 90dB peak sound pressure twelve feet away in my listening chair induced subversive compressions. Asking the Fudou to drive the TAD-E1 into party-level ruckus will be improper.

If in another space the owner of which craves 90dB-plus sound pressure from the TAD-E1 to realize the sonic splendor of the any other MFSL swashbuckler, the $12k Pass Laboratories INT-250 should be considered. But for readers who has come to know the 47 Lab sound and method and found the Gaincard S a bit too idiosyncratic physically and transparent sonically, the Fudou is the sweeping solution, albeit at a much higher price.

The 47 Laboratory 4739 Fudou stands apart from its lineage. With its flagrant sonics, the Fudou is the beauty of the family.

I took up my position on the elliptical machine at the health club in the front row, the one that catches the morning sunlight. For twenty years I ran outdoors year-round and always enjoyed heading into the first rays of the day. Especially on cold winter days the sun’s warmth on the face was welcome. I have had people tell me that I am wrecking my eyes by facing the sun as I workout, but my prescription for eyeglasses has not changed appreciably over the past 7 years. So, I’m going to enjoy the sun as long as I can because in the winter it sure beats existing in an office until the workday is over, then emerging to… darkness.

This particular day there was a small mystery to solve as I ground out the hour of cardio: To whom did the BMW i8 supercar belong? Usually the stalls in front of the facility hold old sedans or pickup trucks, not carbon fiber 3 cylinder hybrid cars with swept-back lines capable of hitting 60 mph in 4.4 seconds! I was surprised to see a conservative looking young couple in their late 30’s whom I greet daily approach it, then pop open the gull wing doors, slide in and nonchalantly cruise away.

In this article we discuss another German made product, an amplifier that, while not having lines as bold as the i8, features very taut performance on a par with super-amps. We shall investigate the AVM Ovation SA 6.2, a pair of them in fact, which would set the owner back a cool $20K, putting one in the “driver’s seat” controlling a system anchored with ultra-fine amplifiers. Let’s talk high performance amplification.

How much better?

Every audiophile wonders the same things: Is vinyl that much better? Are tubes always warmer sounding? Do class D amps measure up? Is streaming audio fine enough for serious listening? Is the very high priced gear always better? While this article is not dedicated to answering those particular questions, it will address one particular question: Is there that much difference in performance between affordable solid-state amps and more costly ones?

AVM GmbH Audio Video Manufaktur, owned and directed by Udo Besser, makes very high quality components for, as might be surmised by the name, audio and video home use. Though the name may be new to those in North America, AVM has been building audio gear in its own facility in Germany for more than 30 years. A search for the U.S. distributor brought me to the site avm-audio.com, which suggests the company does not have a U.S. distributor currently. However, the brand has been seen at shows in the U.S., including the recently held AXPONA 2017. It appears that, for the time being, U.S. customers deal directly with AVM in Germany. During the review period I had faultless communication and assistance from Peder Beckman, Sales Manager of Americas for AVM.

I sought an Owner’s Manual for the Ovation SA 6.2, but it was not yet available in English. Having worked with several products from Asia and Europe it is not uncommon for the attending Manual to be a bit behind the curve. Thankfully, as might be expected from a long time maker of electronics in Germany, the controls of the Ovation SA 6.2 are well identified and intuitive. The “walkthrough” of the operations of the unit are as I discovered them while using the amplifier.

It would be in AVM’s best interest, however, to produce a Manual in new markets expeditiously as the potential for incompetency of less technically inclined owners leading to incorrectly wiring the unit cannot be overlooked. As it is, some features and operations of the SA 6.2 remain inscrutable without guidance. I discussed with Peder whether there was a proper location for the placement of speaker cables considering that the description of the amp’s features includes “2 pairs of loudspeaker connections, separately switchable.” My understanding of switchable speaker connections is that they are independently wired, allowing for multi-zone use. However, in discussion with Peder, he indicated I could hook up speakers to whichever appropriate black or red posts I chose, as they are internally jumpered. I saw no function for switching speakers as I worked with the amps, so I suspect the phrase “separately switchable” is an awkward description of the amplifier’s bi-wire capability.

The amplifiers arrived in style and safety ensconced in two heavy-duty flight cases. This is the right way to ship premium components. Communication throughout the review period was quick and precise.

Also read: Interview with founder King Ip.

“I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by. No matter what culture we’re from, everyone loves music.” – Billy Joel.

The audiophile industry has seen prices rising dramatically over the last few decades and many individuals are trying to find good values wherever possible. Perhaps, as Billy Joel states, everyone loves music, but it is audiophiles who love great music packaged by great sound quality. The trouble is that the audiophile industry, and often the review press, becomes focused on promoting the upper end of the audiophile market, presenting the notion that your final system should be rather enormously expensive.

Occasionally, a product comes along that is impressive, surprising, and is also affordable. Many very expensive components are impressive, which should not be a surprise given the price, and  when an audiophile spends $20,000 on a given piece of stereo equipment, they had better be impressed and amazed and even gob-smacked. These products tend to interest me less because they are supposed do these things at these prices.

So what do most of the rest of us do? What do young audiophiles do who generally have less money to spend and generally better hearing? Some of them look to the review press or forums for solid values and hope the reviewers are correct and that this week’s cheap wonder gizmo will be excellent. Unfortunately, many a time the product is a largely hollow endeavor.

Many audiophiles have discovered some ear pleasing advantages with tube amplifiers, many find a higher sense of musical satisfaction from those old fangled tube amplifiers. And like their solid-state cousins, tube amplifiers come in all sorts of shapes, sizes, and prices.

Many experienced tube lovers and reviewers find favorites in designs. They may prefer big power tubes such as the famed 211 or the 845, or they may prefer the flea power variety of the 2a3 or 45. However, some of these famed output tubes require a certain level of expense to create, which is why the big power output tubes typically run many thousands of dollars. The design requires large power transformers and physical space to safely operate. They are out of reach for audiophiles on a budget. So, what is needed is an amplifier that can retain as much of the quality as possible, in an affordable and sensible package. The desire is for an amplifier that retains the spirit of the presentation, the richness, and the beauty of our record collections, all the while allowing the audiophile to be fully engaged.

Enter the KingKo Audio KA-101.

The KA-101 is a relatively small, 12 watt-per-channel integrated amplifier from a company you’ve never heard of and retails for a price many audiophiles spend on a set of cables. Sadly, given the price, many audiophiles will dismiss it for not being expensive enough.

This amplifier is a cut above anything else I have heard at this end of the market for several reasons. Firstly, many audiophiles may have seen similar looking amplifiers from Audio Space, Line Magnetic and Antique Sound Labs and many others. You have seen these small headphone amplifiers with a little bit of power, typically 3 watts in Single Ended Triode operation, to drive some desktop speakers. Most of these amplifiers are priced from $200-$1,000 and are toys compared to the KingKo KA-101. The first surprise is that the KingKo KA-101, being a push-pull design, sounds quite substantially superior to any of these aforementioned headphone amps.

This is a surprise because SET (Single Ended Triode) amplifiers typically sound superior, provided they are competently designed. Their biggest shortcoming is that they are very low powered so they can’t drive demanding loudspeakers, which nullify their sonic advantages. SET amplifiers typically offer what fans describe as a magical, holistc presentation. An analogy to the SET sound might be that SET is equal to a fine filet minion versus solid-state design, which is the equal of ground beef. A good push-pull tube integrated would be something in between. As readers will no doubt point out, a great chef can make a great hamburger and a lousy chef can ruin a fine steak.

By going down the push-pull track, King has been able to make a solid integrated amplifier. The KingKo KA-101 is a full fledge design offering enough power to drive a credible number of speakers. While it is only 12 watts, it will be comfortable with most 90dB sensitive loudspeakers and will be able to control woofers credibly. Comparable SET units are limited only to efficient horn-like speakers with sensitivity of around 97dB+. To be clear though, no one really buys those headphone amps to be used as integrated amplifiers.

King Ip, founder of KingKo, decided to have his engineers add an extra winding on the output transformers to make a proper and serious headphone amplifier as a bonus. The latter alone justifies the price of the amplifier. The second surprise is that for the first time in 17 years, the Sennheiser HD600 opened up from its deep slumber to show its true abilities. An expansive, open, and altogether huge sound presents itself to the listener. This is a distinct departure from the generally overly polite nature so many headphone enthusiasts grumble about with this particular headphone.

The KA-101’s sound quality will inspire the user to try and possibly buy more headphones and make upgrades to their source material. Bass was tight, deep and the upper midrange and treble sparkle with a sense of space. Cymbals are no longer dulled or rounded off. Music reproduction is altogether more powerful. The very low noise floor of this amplifier is impressive because it is often stated by some headphone enthusiasts that SET has less noise than push-pull and thus are more suitable for headphones. The KA-101 is just as quiet if not more so.

Design History

This is the fourth product I have reviewed from Margules. The quality and value of these products make me continue to question why they are not better known in the overall audiophile world. Julian Margules of Margules Group has been an audio manufacturer for over 40 years and is well known in Mexico and other parts of the world. Still, I had never heard of them until 2010 and never heard one of their products until one of the early California Audio Shows. Margules Group is located, and their products are manufactured, in Mexico City.

The U280-sc amp has been a staple of the Margules line for years. Two years ago I reviewed the 25th Anniversary Edition of this amp. It is s a Class A tube amplifier that can operate in either ultra-linear or triode mode. The U280-sc is a Class A push-pull design that delivers 50 watts per channel into 8 ohms. If you use it in triode mode, it delivers 25 watts into 8 ohms.

The amp uses a Class-A output stage with what they refer to as “Active-Servo Bias.” Class-A operation causes the tubes to run quite hot and increases the chance of saturating the output transformer. Margules says they have resolved this problem by incorporating a redesigned 12th generation Active Servo Bias, with a faster and more precise bias setting. The active servo bias actively tracks the input and output signal, allowing a full class-A output at any level or mode, without overdriving the tubes and transformers. Active Servo Bias also sets DC bias and AC drive levels, assuring optimum electrical and sonic performance throughout the lifespan of the output tubes, no drive or bias adjustments are ever needed. New tubes can be installed without test equipment. The Active Servo Bias also makes it possible to use a variety of output tubes. The 6550, KT88, KT99, KT100, KT 120 can be interchanged without modification.

The Active Servo Bias is implemented with semiconductors, which are designed for the aerospace industry, assuring long, trouble-free operation. The amp is switchable between triode and ultra-linear operation. It also allows the outputs to be strapped, for twice the output; so you can use two as mono-block amps. This would allow you to use the triode operation at the same power level as the ultra linear on a single amp. There are separate gain controls for each channel, which make precision balancing easy to simplify further the setup of bi-amped systems. The U280-sc uses no negative feedback, which is a plus in my way of thinking.

The build quality of the new “Black” version is even more beautiful. The aesthetics of the design is complemented with a new epoxy pc boards, military grade potentiometers, precision metal-film resistors, and audio grade interstage capacitors. The wood now used for side panels is oil rubbed, tropical hardwood. It also has a new fascia, new knobs, and transformer box materials. I think everything about it looks like it should cost at least twice its asking price.

I asked what improvements the Black had over the Anniversary version of the U280 I reviewed two years ago. According to Carlos Smith, there is new cabling and PC design and configuration for even better signal transmission. There were upgrades in certain electronic components, to a lower noise floor, improved clarity and response across the frequency spectrum.

They also redesigned their “Active Servo Control” circuit, which has always been one of the hallmarks of Margules´ amplifiers. They redesigned the differential circuit to decreased distortion and improved the power supply for lower power consumption, increased thermal efficiency, and lower operating temperature. In an effort to further lower the noise floor they have improved the grounding of the amp.

Listening with the Margules U280-sc “Black” Amplifier

When reviewing the 25th Anniversary Edition of this amp, I said, “Well, I can say one thing for sure, my system surely sang with the Margules U280-SC in my reference system. It didn’t matter if it was in ultra-linear or triode mode. Let’s start by talking about how it sounded in ultra-linear mode. In this mode, the U280-SC exhibited big tuneful bass with real impact. There was nothing about the bass of this amp that screamed tube or transistor. In fact, the bass sounded like some of best solid state amplifiers with a tight, controlled bottom-end.

In ultra-linear, the midrange was clear, transparent yet it still had beautiful tonal colors. Midrange notes did not stand out because the presentation was overly warm or romantic but stood out because of how well it was integrated within the musical spectrum. There was nothing over emphasized or over exemplified. There was no hint of roll off in the top-end. Cymbals, for example, had very nice shimmer without any hint of splatter.” All of this is still true about the “Black.”  As I listened to the “Black” in ultra-linear mode, I thought that it did many of the things that the Pass Labs XA30.8 accomplished, like the way it controls the bass and the air in the top-end.

Next, let’s talk about how it sounds in triode mode; just as I expected the background became quieter, and the music came even more to life, and the midrange had more pop. The sound had even more beautiful tonal colors. The biggest difference is that in triode mode there is more of what makes good tube amps special. There was great soundstaging, dimensionality, and imaging; all with the sense of space and midrange richness that you rarely get from anything but a great tube amp.

It is incredible that a triode tube amp could have this kind of bass. The bass was fast enough to provide pace, rhythm, and timing. I especially like the natural bloom the bass has in triode mode. One of the things that I really liked about this amp was how a standup bass, a bass drum, and the bass end of a piano could all have their space, and each has different dynamics all at the same time much like live music.

The amp does a superb job on all kinds of instruments of bringing exciting dynamics and energy to the music. This “Black” isn’t about being the most exacting amp; it’s about the harmonics, how the decay sounds, how the music blooms, and how much like real music it sounds.

Conclusion

As much as I like the “Black” in triode mode one  of the amp’s strengths is how good it sounded in the ultra-linear mode. This gives one the opportunity to own a Class A amp that can drive rather inefficient speakers. I should also mention this amp brought out the best of a very good digital source. Some might say that means it is a forgiving amp, but I’d rather say that somehow it lets you hear the best of the source as long as it is a good musical source.

I did not have the “25th Anniversary” and the “Black” at the same time, and after two years I can’t tell you where they sound different. What I can tell is that the “Black” is a wonderful Class A tube amp. Still, like its predecessor in the ultra-linear mode, it neither shouts tube or transistor. It does sound like a good Class A amp. In triode mode, it shares most of what I think of the very best of Class A, No Feedback amps and little of tube amp shortcomings. I would have to agree with the statement on their website; the “Black” delivers a “Tangible Musical Experience.”  Highly recommended!

Publisher’s note: In my upcoming Pass Laboratories Xs Phono preamplifier Review, I provide brief technical description of the unit for readers’ benefit. But no writing by me or any other reviewers can surpass insights and the sense of adventure directly from the pen of the phono stage’s own designer, Wayne Colburn. Hence, instead of quoting Wayne incessantly in the Review to come, I am excited to publish what he wrote to me on the technical background of the Xs Phono here with very minimal editing.

Without further ado, here is the anecdote by Wayne. Our thanks to Pass Labs and Wayne for this article. Enjoy!

Forty-five thousand dollars for a phono stage? Yes, but if you can’t write the check, don’t listen to it; there is no going back and you can’t un-remember the sound. It is an XS and it may not be for everybody. We sell a great one for less than one-tenth this price.

This is a complicated product for a company that prides itself in high performance simplicity, but in taking a signal from microvolts to volts and equalizing it, you must do many things correctly.

Let’s start with the input stage. We use three separate input gain cards to avoid the use of relays in switching low-level signals. We use great low-level relays guaranteed for microvolt levels but a direct connection is even better. These circuit boards are made of high temperature ceramic composite and suspended on elastomeric mounts. These are seven times the cost of standard boards and are gold plated, designed to last and be extremely stable. This is important: When amplifying a low frequency signal, almost 100,000 times the errors are multiplied, so we better get it right. This is the stuff they use in rocket science. The transistors chosen are NOS Toshibas, hand matched and trimmed for all six input cards, and 84 total FETs. Purchase these transistors if you can find them, I have found nothing better.

Out of this gain section we feed Vishay resistors and custom made REL caps for the first equalizer section. This phono stage took over a year in development and parts selection is a big part of that. Just because it is expensive doesn’t make it sound good, they must work well together, be stable, and last twenty plus years.

These parts rest on another gold plated circuit board of yet another specialized type chosen for this. It is also floated on eight elastomeric mounts and hand assembled. The secondary gain module plugs into this board using symmetric redundant gold connectors. This is a direct-coupled high gain section using more NOS Toshiba parts in a cascade configuration, feeding quad Toshiba MOSFETS in an auto bias circuit that maintains optimum operation.

These circuit boards are dual mono in a side-by-side configuration, just like the power supply with its twin boards and 120-watt toroids. We have multiple stages of regulation with electrolytic and film capacitors, in an all discrete cascade circuit. I hate to say it but even the Pass transistors were selected for their sonic performance. They matter and not just a little.

All this is enclosed in heavy, dual aluminum chassis for stability, shielding and to hold the user interface. Three inputs are selectable with loading from 30-47K Ohms, 100-750 PF and variable gain, plus nonvolatile memory for the loading settings. A front panel mute is available, as is a 20 Hz RIAA high pass.

Yes, the XS Phono costs more than the XS Preamplifier ($38,000) but it uses 1500 parts on 13 circuit boards and sounds awesome, plus you can use it more hours a day than your Aston Martin, unless you have a long commute.

The Pass Laboratory Xs Phono arrived after I have wrapped up my review of the Hartvig TT turntable system with the Ikeda IT-345CR1 tonearm and the 9TT moving-coil cartridge. The phono stage at that time was the Pass Labs XP-25, a $10,600, two-chassis phono stage that raised the splendor of vinyl playback to such heights that first informed me of the encouraging progress in state-of-the-art vinyl playback in this mature age of digital. It was the XP-25 that spurred me on to taking a more serious look at vinyl playback. The subject of this review is the Xs Phono, the only higher model in the company’s products to the XP-25.

The Pass Labs Xs Phono comes in two large chassis, and together with the identical twin-chassis of the accompanying Xs Preamplifier, signify a major presence in my system. But as designer Wayne Colburn explains in his Technical Background article, the XS is the result of an intensive exercise in product design, employing rocket science-grade gold plated circuit boards for long-term operational stability and hyper sensitivity for the feeble signals to pass through. Not only is the XS main chassis endowed with 13 of these massive, space age circuit board with 1,500 parts, and doubled up in dual-mono pairs, a whole contingent of toroidal transformers and stages of regulations fills up the separate power supply chassis. Pass Labs products are not known for being space saving, although its powerful INT-250 integrated is a different story, and for another time.

The two chassis of the Xs Phono are interconnected via a pair of umbilical cords for the dual-mono operation, and this accords the user considerable freedom in separate placements. I have noticed better tonal definition and spatiality when separating the two chassis than stacking the main chassis on top of the power supply. Still, for space-saving measures, I stacked the main chassis of the accompanying $38,000 Xs Preamplifier on top of that of the Xs Phono. Since both are main chassis that house each system’s control circuits but not the processing plant of power supplies, they pose no performance impediment issue to one another. The power supplies chassis for the phono stage and the line stage preamplifier are in different spots of the room, and no operating electronics are put atop either.

Reviewed with the Xs Phono is Allen Perkin’s $18,000 Spiral Groove Revolution turntable system with the $6,000 Centroid tonearm. Together with the Xs Preamplifier, the Pass Labs Xs Phono drove a pair of the company’s $45,000, pure class A, XA-200.8 monoblock amplifiers. A pair of $30,000 Technical Audio Device Evolution One floorstanders and $21,650 Sound Lab Ultimate 545 electrostatic panel speakers alternated with the Pass Labs monoblocks. A pair of $30,000 Bricasti Design M28 monoblock amplifiers also saw heavy duties.

A complete suite of MIT Cables Oracle series of cable system was in place, including the MA-X2 RCA interconnect for phono, MA-X SHD XLR for linking Xs Phono to Xs Preamplifier, and Xs Preamp to the XA-200.8 monoblocks, or the Bricasti Design M28. The MIT Cables Oracle Matrix Super HD 120 speaker interface drove the speakers. In the case of the TAD Evolution One, the jumper cables were the Audio Reference Technology jumper cables. Cartridges used were the Fuuga, Audio Note Io I Red and Soundsmith Paua II.

The Xs Phono provided three easy-access, large round knobs on the front for IMPEDANCE, CAPACITANCE and GAIN. Of all phono preamps I’ve used, the Xs Phono had proven to be the easiest to operate. Adjustments on moving-coil cartridges rest in the IMPEDANCE settings primarily, with a range from 30 to 47k Ohms. Capacitance adjustments were available from 100 to 750 pF, although changes had no effect on moving-coil cartridges. Since I didn’t have moving-magnets among my cartridges, I can’t report on the sound of the phono stage via changes in capacitance setting.

The GAIN circuit provided for 56, 66 and 76 dB of output and I have found the highest, 76dB setting to be perfect for all three cartridges. The Xs Phono had three pairs of RCA inputs in the back and one pair of RCA and XLR outputs. Six small, push buttons lined up towards the right of the front chassis that controls INPUT 1, 2, 3, and then SAVE, HIGH PASS FILTER and MUTE. The HIGH PASS FILTER cut off signals below 20 Hz. Many a time the features of high and low pass filters are present on budget phono stages for use in budget turntable systems, and I thought it bizarre to assume Pass Labs patrons spending $45,000 on the Xs Phono and expensive cartridges would be using the system to play warped records, probably poorly kept with massive levels of subsonic, thus needing the filtering. Kudos to the wisdom of Pass Labs, for before long I started to dig out archaic favorite albums of mine, although none of them required the filtering. The Xs Phono can memorize individual settings on each of the inputs, which is useful for reviewing purposes.

Blue LEDs are built into each change segment of the three large knobs as well as above the push-buttons, though the minimal brightness suggests close proximity operation is expected. The Audiodesksysteme Glass Vacuum Vinyl Cleaner assured me of the quality of my vinyl experience by providing the quietest and least blemish record playback.

“In a class of its own”

HiFi enthusiasts know their classes of solid state amps, the most commonly used ones being Class A behemoths that tend to run hot, Class A/B solid state designs that tend to run cooler and often yielding more watts per dollar, and Class D, or Switching (chip) amps, which are even less expensive and debatably offering higher performance precision. Enter Lucasfilm Ltd., known to seasoned film fans as the company founded by filmmaker George Lucas, who hired audio scientist Tomlinson Holman to revamp the audio chain in movie production from the set to the theater. The result was a certification program of standards called THX (trademarked) that was used for the first time in the production of “Return of the Jedi” in 1983.

Fast forward nearly 35 years later and we have Benchmark Media Systems, a HiFi component maker with one foot in the pro audio world and the other in the domestic sector of HiFi, collaborating with the THX program to make a new class of amplifier designated Class AAA. The “AAA” stands for Achromatic Audio Amplifier, an analogue amp that greatly reduces energy consumption. Some highlights of this technology include the use of both feedback and feed-forward error correction, accomplishing an almost non-existent distortion level of 0.0001% at 1kHz, greatly reduced power supply-induced distortion and noise, and a resultant signal-to-noise ratio (SNR) in excess of 132 dB A-weighted.

In terms of operational efficiency, rather than reducing the bias current, which typically has the effect of increasing crossover distortion, THX technology claims to allow high biasing while practically eliminating crossover distortion, and doing so with lower power consumption. Tracking Power Supplies that deliver power “on demand” usually introduce their own distortion, but THX’s AAA technology renders this negligible. The outcome is a seemingly perfect audiophile amplifier: Light with a small footprint, has the ability to drive demanding loads to full output with extreme integrity, has vanishingly low distortion and runs cool.

Benchmark Audio’s promotional brochure enthuses about the SNR ration in its discussion of the collaboration of Benchmark and THX, “… this is 30 dB greater than most amplifiers. That’s 30 times less noise than typical amplifiers – the perfect amplifier for a high-resolution audio playback system.” The Instruction Manual states, “132 dB is approximately equivalent to the noise performance of a perfect 22-bit digital system… At high output levels, the AHB2 [amplifier] remains virtually distortion free while driving heavy loads.” I translate that as, “We dare you to put this amp on the King Sound King III electrostatic speaker and give it a good run.” Better yet, I’ll do that as well as put the amp with the shockingly revealing PureAudioProject Trio15 PAP Horn 1 Speaker.

Supposedly, Star Wars (trademarked) has made your stereo amp better. The “THX Force” is with us audiophiles in the AHB2. When you conclude reading this assessment you will know whether I conclude Class AAAis aforce or a farce.

More settings than Star Wars installments

How many settings on a component does it take to make you happy? To arrive at an answer consider the two schools of component building; the first offers only one setting, one option for the sound, the other offers several settings and a variety of options for the sound. For the moment, putting aside the inherent differences between classes of amps, which is better : A monoblock design, or a much more involved design that offers modes such as Stereo, Mono, XLR and Neutrik outputs, and a gain setting selector? Your preference says much about you as an audiophile.

Over the years, I have careened back and forth on this question in regards to all components, even speakers, as there is a diversity of opinion among manufacturers in their products. It should give pause for consideration that there is no complete universal perspective in manufacturing, nor in listening, when it comes to the best sound produced by feature-poor or feature-rich components. There is a veritable chasm in the audio landscape today, on the one side featuring refreshed throwback designs, and the other displaying amps with digital management, onboard DACs and in some cases even room correction modes, to say nothing of systems with active multi-channel processing for stereo.

I recall my ten-band analogue Audio Control Equalizer that saw vigorous use, portending my development into a system builder exploring permutations of HiFi systems. It must have been more than 30 years ago when I first heard an audiophile authority say equalizers were not to be included in high-end systems. I thought it a stupid comment at the time, for how was a person to tailor their sound if not for all those channels of frequency control? Not too many years later, due to exploration of more streamlined systems, I reversed my opinion and concluded the same; the simplest signal path is the best. Yet, time and again as I built systems I encountered exceptions to that rule. Regularly, rigs that were not the simplest could attain a more gratifying sound. It wasn’t as simple as the straight-wire-with-gain principle suggested. That seems the case with components, even amplifiers, as well. Thus, the simplicity/complexity pendulum continues to swing over time.

“Night and day” difference

Currently, I have two sets of components, DACs and amps that represent the proverbial night and day difference from each other in terms of design. The simpler components are the Exogal Comet DAC and the Belles ARIA Mono Block Amplifiers, while the more complex components are the Benchmark DAC3 and the Benchmark AHB2 Amplifier. I say, simpler or complex with no implication or suggestion on  any enterprise of whether their process of building any audio component is simple or not. I am reminded of the misnomer in Darwinian circles of calling a lower life form “simple”. There is no such thing as simple life. When in terms of complexity, a single celled organism, much less a strand of DNA, makes a supercomputer seem like an abacus, it’s never simple. Such simple life, as it is called, is lower than more advanced creatures but by no measure, literally when it comes to the statistical improbability, is it simple enough to just happen.

In referring to components as “simple” versus “complex” I am discussing the complexity of features of the design, that is, how many options for use are offered. This review is about the Benchmark products and will be discussed in the context of how strikingly feature-laden they are. The multi-faceted operation of the Benchmark DAC3 and AHB2 will be considered as how they may assist with building superior systems.

Which is better in terms of performance? Which assures the best outcome in system building? While this is one comparison of an endless range of possible comparisons, it will stand as an example to show the considerations involved in selecting an amp and the expected sonic outcomes. This begs the question; does the massing of features detract from the sound in comparison to more streamlined competitors?

The Belles ARIA Mono Block Amplifiers, also in for review, are representative of a simpler design principle. The ARIA has – get ready for it – a power button, one pair of RCA inputs, one pair of speaker terminals, and a 15A IEC port with fuse holder. That may have been a bit much to take in all at once, so let’s examine it. The ARIA has one signal path option only. You get no derivative, no options, no “second chances.” I have found that in system building, second and third chances in the form of alternative configurations are very helpful to attainment of pleasing, but not necessarily the most accurate, performance. In the case of a component with only one operational mode, it had better be astounding, because it gets one chance to impress.

We can apply the same discussion and questions to comparison of the Exogal Comet, previously reviewed by myself for Dagogo, and the Benchmark DAC3 DX. The Comet truly is a one-outcome DAC; whatever signal you feed it, the DAC formulates a parallel signal and forwards that to the amplifier. As with the ARIA, the Comet produces a consistent result, one chance to impress in any given system. Alternatively, the DAC3 DX has several adjustments allowing conditioning of the signal. 

What good is configurability? The Benchmark DAC3 DX and AHB2 Amplifier can fail to be optimized several times through selection of less than ideal settings and still have the potential to come out on top. The pertinent question, then, is whether they may be so, attaining the caliber of an amp with a dedicated signal path and a DAC with an algorithm that is agnostic to the incoming signal. Let’s find out.

DAC3 DX rear panel

The Owner’s Manuals are available – all 117 pages of them

I used to attempt thorough explanation of manufacturers’ Owner’s Manuals in my reviews. The longer I am at the reviewing game and the more information is found online, the less inclined I am with the time I left in life to rehash a Manual in a review. I recall reading reviews years ago and scoffing at the imprudence of the reviewer who said, “Consult the company website…” Now, I consider that recommendation a stroke of genius; I just saved myself a few hours!

However, I will summarize the notable features of the DAC3 DX:

3:1 summing on the main outputs. The ES9028PRO [DAC chip] is an 8-channel 32-bit converter. Three channels are summed for each of the stereo outputs, while the remaining two channels provide the auxiliary outputs. (Note: If you hook up your amp to the Auxiliary outputs you will not be getting the best processing of the DAC3 DX!) Harmonic compensation is the name given to the ESS chip’s capacity to remove most 2^nd and 3^rd harmonic distortion of the D/A converter.

High Headroom Digital and Analogue Processing prevents clipping of inter-sample overs (see Instruction Manual for further details). 

High Efficiency, Low Noise Power Supplies 

UltraLock3 Clock System provides outstanding jitter attenuation.

Asynchronous USB Audio 2.0 supports DSD and 192 kHz, 24-bit PCM

32 Bit Digital Gain Control uses a motor-driven volume control to set the gain of a 32 bit dithered digital gain control, “The volume control is a servo-driven analogue potentiometer… produces a DC voltage that controls the gain of a dithered 32-bit multiplier. The outputs of the multiplier drive the 32-bit D/A converters.”

Native DSD Conversion accepts incoming DSD signals via the USB or Coaxial inputs. The signal is routed to a bank of 1-bit DSD D/A converters. Three balanced 1-bit converters are summed together for each of the MAIN outputs.

1W Amp Crossover Distortion

For those who want something technical to chew on in regard to the amp, the Appendix of the AHB2’s Instruction Manual contains two pages of dense, technical discussion. Here are some highlights: There are two amplifiers inside the chassis, a Class H, and a Class A/B with feed forward error correction, “Each channel of the AHB2 is equipped with a main amplifier and an ultra-clean low-power auxiliary error-correction amplifier.” The A/B amp does the bulk of the work, while the auxiliary amp provides a low power error correction signal. The error-correction amp actively drives the output as the A/B amp transitions between push and pull states. Crossover distortion associated normally with A/B designs is all but eliminated. Multiple power supply rails and tracking power supply rails are used in the design, and along with the feed-forward error correction they do not produce significant distortion as in most A/B amps. In addition, a switch-mode power supply is used with switching frequencies above the audio band, and in lieu of stored energy in capacitor banks, Benchmark seeks to nearly eliminate all storage after the power supply. Power supply regulation takes the place of energy storage, causing the amp to respond quickly to peak loading, and makes it immune to AC line voltage fluctuations. The AHB2 also has a digital monitoring system that monitors all critical functions, providing comprehensive protection from overload and fault conditions.

VAariants of the DAC3

There are three variants of the DAC3:

DX under review (only digital inputs; 2 Toslink, 2 Digital Coaxial, 1 USB and 1 AES/EBU input; two pair RCA outputs and 1 pair XLR outputs; two front headphone outputs);

HGC (2 pair Analogue inputs, 2 Digital Coaxial inputs, 2 Toslink inputs, 1 USB input; 2 pair RCA outputs, 1 pair XLR outputs; two front headphone outputs);

L (same as HGC, but without the twin front headphone outputs).

Study the features carefully, as the units are similar but different in potentially critical ways in terms of setup of systems. You do not want to order one of them only to find that down the road you are limited in setup, i.e. ordering the model without headphone outputs.  For instance, am I taking a risk by using the DAC3 DX that I will not need analogue inputs? Yes, however, I have fallen into the habit of not adding a preamp to the signal path if I use a DAC having an integral volume control. That would result in duplication of gain stages, which typically muddies the system sound.

Cramming in all the functions

In terms of user-friendliness, Benchmark and Nagra may have a competition on which company can jam the most features into the smallest component. The only other DAC I have used that is so cramped is the iFi Micro DAC, and it is portable. Forget trying to spy the functions indicated by the blue LEDs on the face of the DAC 3 DX from your listening position, just memorize where those LEDs are. Learn also the flashing patterns of the LEDs and you will be fine in terms of daily use.

The speaker connection posts are not very practical. I hate the encapsulated posts that are becoming popular, forcing entry by spade terminations from underneath. I get it, more protection against spades slipping and potentially causing a short. But if the speaker cables have stiff, long leads – and many do – it’s a PITA. Benchmark has allowed little leeway between posts, inputs and switches. Must studio wonks attempt to cram everything into one inch? I have been in a few studios around the world and many have precious little room, so I get the idea of space saving designs. Home users should expect a touch of frustration with hooking up leads. Get used to it, as it’s worth it. When it’s put together you will forget all about it.

If the DAC3 DX doesn’t work in your system, you likely set it up wrong. I couldn’t get a signal out of it at all when I first fired it up, even though Tidal and ROON were synced perfectly. Well, almost perfectly. I surmised that any product with 75 pages of instructions might have a setting I was overlooking. Sure enough, it was set to receive USB 1.0, not USB 2.0, the current standard. A push and hold of a button, followed a few LED flashes I should memorize, and I was up and running. It should be said that incorporating the DAC3 DX with ROON and Tidal was the most trouble free setup of any DAC I have ever used, and it has been flawless in terms of operation. Some DACs I have used needed a series of starts and restarts to get the Salk StreamPlayer III, Tidal and ROON to interface permanently, but the DAC3 DX has presented no problems in that regard even when pulled out and reinserted into the system.

Manufacturers such as Benchmark and Exogal know a great many audiophiles despise diminutive indicators, yet they keep building them. Exogal does so to nudge users toward controlling their products with tablets or smartphones, while Benchmark caters to studios as well as domestic users. When the DAC3 DX sits three feet from you, the layout is obviously smart. It is a case where Benchmark builds for the pro market and also sells to the audiophile market. If the appearance and a traditional aesthetic steers your spending habits, then the Benchmark DAC3 DX is not for you.

Everything’s venomous in Australia. Well, not everything, just a lot of things; snakes, spiders, jellyfish. I recall reading in the book In A Sunburned Country, by Bill Bryson, how in 1967 Prime Minster Harold Holt, a man very comfortable in the water, went for a swim with family and friends during high tide at Cheviot Beach near Portsea, Victoria. With a confident reply to concerns about the action of the waves, he entered the water saying, “I know this beach like the back of my hand,” walking, then swimming into the surf – and he never came back! Australia has spiders that actually attack humans, their venom disintegrates flesh. Many of the world’s most deadly creatures are found in Australia or off its shores. It’s not a place to visit if you have deep-seated concerns that nature is out to get you!

The product under review, the REDGUM Audio Articulata Integrated Amplifier, is as unexpected as the seemingly innocuous, but venomous duck-billed platypus, another resident of Australia. The Articulata is designed for lower impedance loads, sporting dual volume control knobs, a subjacent sine wave heat sink, color-coded and unlabeled inputs, and a wood faceplate made from solid Redgum tree wood. Due to its sensational density and a propensity to shed large branches during dry seasons, the Redgum tree is potentially lethal; locals know not to camp underneath the trees as the heavy branches falling can kill a person. Thankfully, the REDGUM Articulata is safe to use. As a safety feature it comes with a “Redgum” keychain and, yes, a key to turn it on, among other things as a deterrent to theft. Seeing the curious mix of attributes of this product, I knew a review of it was going to be a singular experience.

Gumtrees can be found outside of Australia. While in Swaziland during a trip to Africa, I encountered the Bluegum tree. As there is an array of species of Redgum tree (the Owner’s Manual mentions the River Redgum Tree), I suspect the one culled for the fascia is not of the Articulata species, as the actual Articulata tree is an oversized scrubby bush reaching no higher than about ten feet and found in such paltry numbers that it may also be an endangered species.

The Owner’s Manual shares some tidbits about the wood byproduct. The River Red Gum tree is structurally strong enough for use in construction and is suitable for furniture. The wood is extremely hard, the second hardest of any tree in the world – it took the invention of the carbide saw blade to cut the wood precisely. Do an online search for images using the phrase “Redgum Amplifolia furniture” and you will be rewarded with a visual feast of gorgeous looking pieces. The front panel of the Articulata integrated amp has such a high aesthetic appeal as to elicit thoughts of a polished slab of semi-precious stone. Thankfully, as is the case with many names of HiFi audio products, the etymology of this name bears little resemblance to the appearance and performance of the component. The scrubby Amplifolia tree is unbecoming, while the integrated amp’s front panel is gorgeous. I haven’t done research on the cost of Redgum furniture, as it would seem impractical to pursue it in North America, but I am drawn to it for its innate beauty. By the end of this review you will learn that, similarly, I am drawn to the Articulata integrated for its innate sonic beauty.

Rare people and rare products

Before proceeding to the analysis of the Articulata, it bears mentioning that REDGUM manufactures an entire range of high-end audio and AV components. One can build an all-Redgum stereo or surround system from source to speakers. The particular line of products from which the Articulata comes is the Amplifolia line. Redgum is associated in Australia with fine sound quality, but is relatively unknown in North America. Colleen Cardas Imports handles the distribution of REDGUM in North America.

I was introduced to the company at AXPONA 2016, where I saw a similar model, the RGi120 Integrated Stereo Amplifier, at work. Noting that it was both high power and high current, I thought it would be ideal for an article on an integrated with enough oomph to drive less efficient speakers, such as electrostatic designs. After consultation with REDGUM, I decided to move up the line and review the Articulata, which features a similar design but is higher-powered, and is hand wired in the shop in Australia.

A robust build is a characteristic of REDGUM components, which are said in the owner’s manual to be, “… reliable, indestructible and reasonably priced.” Ian Robinson, the owner of REDGUM, shared an instance where a customer complained of the sound of his amp. Upon consultation, Ian learned that the owner had hooked up the amp in such a fashion that it had a dead short and had been operating that way for several days! The amp was not harmed and when hooked up correctly performed as expected.

Other design features of the Amplifolia range integrated amps include:

• Utilization of Audiophile-quality MOSFETS
• In-rush suppression to minimize impact on the mains power system
• “Ultra-Flex Power Supply” makes higher voltages available, so the integrated is stable down to loads of less than one ohm (to .07 ohms)
• Transient power well above the rated WRMS (Transient >320W short term RMS)
• Very high damping factor for tight bass control
• No multiple contact points
• Conductive plastic potentiometers for manual volume controls
• EMI mains filter

The dual mono remote control volume is worth separate consideration. The broad swath of Redgum wood on the face of the Articulata is broken by the key ON/OFF switch at the far left and to the far right what appear, before power up, to be three volume controls. The right most is a source indicator that has color coordinated LEDs corresponding to the color coded inputs and outputs on the back. From left to right these are Record Out, CD1, AV1, DVD, CD2, AV2, and Preamp Out. The color scheme does allow for simple connections; I found it easier to remember a color than a number. There are only RCA connections, but I have not found this to be a detriment when pursuing great sound. In my experience, any given amplifier or integrated having only single ended (RCA) connections may outperform any given amp or integrated having balanced (XLR) or both types of connections. For those interested in recording sources or using external power amplifiers (REDGUM does provide options for this), I direct the reader to the Articulata’s Owner’s Manual.

The Articulata has a three-tier power up process; a rocker switch on the back provides power from the wall, the key turns the unit on, and the remote control conveniently does the same from the listening seat. When the power switch at the back is turned on, a beep is emitted once the MEPS (Minimum Energy Performance Standards) power supply is established. The manual continues, “This is followed by rising ‘whoop’ sound, a number of beeps indicating its firmware version, a check and adjustment of the dual volume controls should they be set too high, a series of clicks from a Power-On-Self-Test of all relays and indicating lights, concluding with a rising ‘Ta-Dah’ tone notifying that the amp is operationally fit.

Slight “thunks,” as they are discussed in the manual, occur several seconds after switching off the amp. They are negligible, as they are simply the unbuffered discharging of stored power. This reminded me of the popping that happened every time I powered up the NAIM Nait 5i that I owned years ago. As with that integrated, I found that I grew accustomed to all the sounds and behaviors, just as I had the clicking of the Cambridge Audio Azur 840E Preamplifier’s attenuation circuit.

The dual mono remote-controlled volume feature allows for individual settings, a feature that may be welcomed in asymmetrical listening rooms. Each channel is balanced to an accuracy of within .01 dB. Selection of the source is via the remote control only; REDGUM includes two of them with the Articulata, one outfitted with battery and the other as a backup. On the remote are additional controls, such as MUTE (<15 dB), BALANCE (the center image is shifted by using the Left or Right arrow buttons), and the “MAGIC” button. The MAGIC button causes a red light to flash and a staccato beeping as a test of the remote control’s battery.

Initially, I found myself using the wrong buttons for volume control; many remotes have the volume Up/Down controls oriented horizontally, but on the Articulata they are oriented vertically. If the channels become imbalanced, one merely pushes the “BAL” (Balance button) to restore it.

In the front, underneath the lustrous Redgum wood façade is a heavy black heat sink formed in the shape of a sine wave that buttresses the unit. The form is not merely a nod to the shape of a sine wave; it carries on through the entire chassis like an audio signal rendered in metal. The amp rests on the outermost fin of the heat sink. The tough but slightly slippery finish to the metal allowed the amp to skate a bit on the hard surface of the amp stand upon which it sat. I did not find it to be a problem, but if it irritated the owner something slight could be placed underneath to halt the progress.

If PS Audio’s Sprout100 has all the answers, you can just imagine the questions.

I cannot tell you the number of times aspiring audiophiles and existing ones who share my penchant for travel ask me online and in person to make recommendations for them. And, what they have all in common is their particular criteria that it be something they:

1. Can be proud of around their friends and audiophiles (I have to chuckle that the two seem to be mutually exclusive)
2. Will not break the bank
3. Can make their office/secondary solution
4. Will travel well nationally and internationally

The Sprout100 ticks all the boxes and then some. It poses a headscratcher of a question itself: What does it not do for $599? And as you can see from the specs listed below, not much is the answer. How one judges PS Audio’s latest incarnation is a matter of perspective, so I’m going to look at it as the core of 3 systems: starter, office, and travel. Normally, specifications find themselves at the end of a piece, but the Sprout100 is nothing short of extraordinary for the price.

Specifications (file this on what doesn’t the Sprout 100 do?)

• Output power 2 x 50 watts @ 8 ohms, 2 x 100 watts @ 4 ohms
• Digital ESS Sabre 9016 DAC
• Optical supports up to 24/96 PCM
• USB supports up to 24/384 PCM and DSD 128
• Remote control (controls sparse yet functional and the unit itself surprisingly magnetic)
• Volume Controls – continuous activation
• Mute
• Power On/Off
• Indicator Light (Bass Boost)
• Enabled – White
• Disabled – Blue
• Mute – Dimmed White
• Sub Out
• RIAA Phono Stage
• Universal Power Supply (for those who like to TRAVEL!)
• RCA Analog In/Out (no skimping here)

That all this comes in one box which I would liken to the size of an early model Apple Mac Mini is hard to believe, and I’m sitting right in front of the unit. So let’s get to those systems.

Starter System

‘So, you want something versatile? You want something which you can build a system around?  OK, oh there’s more. You move a lot and it has to be transportable. You’re not sure if you’re going to stick with records and want the flexibility of digital. You want to be admired and respected by your circle of friends for your gear. Is there anything else? You want it to be an investment in your future. Am taking that to mean you want for it to be relatively inexpensive and made to last?

The above is pretty much an aggregate of what those starting out on the Hi-Fi journey toss my way. And, while taken on the whole, it is a tall order, the Sprout 100, much like Jeopardy in reverse, is the answer to all the questions. In order to position it as the heart of a starter system, I first had to come to grips with the fact that it is an integrated amplifier, a DAC, and a phono stage all in one, with a SUB OUT thrown in for good measure. Like any proper sommelier it’s my duty to work out the pairings, so with respect to price, not function, and the focus being on a starter system, I paired the system with kit that I have at home costing no more than $500 per component.

Speakers:  ELAC Debut B6, KEF Q100, Q Acoustics 3020, and Pioneer SP-BS22-LR. A decent array of affordable functional speakers well under the price cap and all of them performed admirably. The extra power, the oomph of 50 watts per channel, did indeed help matters as it was not necessary to push the speakers to their extremes and if I recall, in my youth and yes even today, I do like a bit of volume. I alternated positioning of the speakers on my trusty pair of Pangea DS-400 24” stands, a pair of ISO ACOUSTICS Medium adjustable monitor stands, my IKEA end tables, kitchen stools, and Kallax storage units. In any configuration/permutation I was not let down. Nothing to sneeze at here.

Turntables:  Rega P1 fitted with stock Rega Carbon cartridge, Pro-Ject RPM1 Carbon fitted with stock Sumiko Pearl and a Parasound LT 900D fitted with a SHURE M97 XE cartridge. I included the last turntable for no other reason than sheer whimsy, and I must be one of the few to proudly proclaim ownership.

To be honest I was not expecting much from the phono stage. At best I was hoping for it not to hum too loudly and for there not to be any RF interference. Now, before any of you get any ideas, let me share this: Last year I acquired six budget phono stages ranging from $90 to $350 and all but one of them produced a nasty hum and static-laden local AM radio reception. I figured with everything else going on inside the box, surely this would be the weakest link. In a word . . . wrong.

I proceeded to spin records that someone starting out on this journey would, so up went pre-owned rock, jazz and classical recordings, all of which were dutifully cleaned in advance of being spun. The phono stage was and continues to be quiet. Given my expectations, the Sprout100’s phono stage far surpassed my wildest. That being said, it is not going to replace the phono stage in my primary system or my secondary system for that matter, nor do I expect it replace anyone’s primary, but for someone starting out this is not bad, not bad at all. Of the three turntables, I got the best results out of my Rega P1 and highly recommend it to starters as an un-fiddly piece of kit.

Digital: Apple MacBook Pro running Audirvana Plus and Roon. As my home is exclusively an Apple shop when it comes to computers, these are my two playback software solutions. The latter just squeaked under the price-cap, just barely. Using a standard USB cable, nothing fancy, and at closer examination an $11 Belkin USB A/B to connect to the Sprout100, again I was pleasantly surprised. I have listened to, analyzed and reviewed my share of DACs over the years. Is the integrated DAC here the best? Hardly. Will it put some DAC’s costing as much or more than the Sprout100 to shame? Yes. Not that it is subjectively so much better, but that it comes too close for comfort.

The computer had no issues recognizing the DAC, nor did either of the software applications. From redbook CD standard to PCM 348 and DSD 128, the Sprout100 admirably handled anything tossed its way. My digital library is vast, so after a barrage of Hi-res and Super Hi-res I settled down to playing files that someone starting out would, more than likely, have at their disposal. What’s not to like? The sound was/is enjoyable, pleasing even, and I was not fatigued in the slightest. We have to remember that DAC’s have come a long way, so now some of the most affordable ones on the market sound damn good for what they are.

This is not to say that there were no issues with the Sprout100’s operation where computers are concerned. In an attempt to reduce power consumption and lessen the overall heat of the unit, PS Audio decided that when the input selector is on anything but digital, USB is powered down, and while this is logical, computer operating systems, both Windows and Mac (OS X) will generate pop-up messages alerting the user that a USB connection is malfunctioning and has been dropped. The Windows error is even more graphic than its Mac (OS X) counterpart. Switching the selector back to Digital (USB) put all to right.

The Bass Boost function is another story. I can understand the logic behind providing Bass Boost, which PS Audio claims adds +8 dB, and given that there’s a Sub Out on the unit, I fear PS Audio is unduly concerned about bass, as if its market research has indicated that it is a make or break feature. While I can applaud the Sub Out, I am reticent to suggest plaudits for the Bass Boost option. The difference between having it enabled and not was/is negligible if at all discernible.

Lastly is the inclusion of an Analog OUT as well as Analog IN. This is where I and PS Audio maintain a strong difference of opinion. PS Audio’s thinking is that at some point the PS Audio Sprout100 owner will be in the market for more power and might be thinking of adding a PS Audio power amplifier, which they can connect via the Analog OUT. I am not convinced of the notion that Sprout100 owners would see the device as a front-end to a bigger, more powerful system. I am much more inclined to believe that the youth market, namely the Millennials, would be more inclined to attach multiple components, i.e. game-box, Blu-ray player, cassette deck, etc.…  At first glance of the unit, connecting a more powerful, high-end amp was not even on my radar, not even a consideration.

The issues, concerns and differences of opinion are not game changers. While they do detract a bit, and prevent the Sprout100 from gaining a “clean sheet” in my book, it remains a truly worthwhile product.

Introduction

About six months after I reviewed and subsequently purchased the Audio Note M10 Special Edition Line Stage, AN asked whether I had any interest in reviewing their top of the line phono stage which, in their opinion, represents an ideal match to their M10 SE line stage. In their words, no expense had been spared in trying to get the most natural sound. The price was quoted at 110,000 British pounds sterling (approximately the same price as a Porsche 911 Carrera S). In addition, they would include their S9 step-up transformer (18,500 British pounds sterling) wound to match the specifications of my Lyra Atlas SL moving coil cartridge.

In due time, a pallet containing multiple boxes arrived at my front door. Given that my reference Ypsilon phono stage arrived in a single crate, it was with some trepidation that I began the unpacking process, fearing multiple power supplies and multiple chassis, which I was pretty sure my existing Finite Elemente equipment stand would not comfortably accommodate. As it later became apparent, the actual phono stage consists of two chassis, an active audio stage about the same size as the M10 control unit and a remote power stage again similar in size and weight to one of the two power supplies for the M10.  Both chassis had silver front panels, neither contained any front panel controls; however, there was an ON/OFF switch on the rear of the power supply above the IEC connector. The units were supplied with two three-meter SOGON silver umbilical cables and an Isis copper power cord. The importer, Audio Federation, was kind enough to also provide a SOOTTO silver power cord.

Technology/design philosophy

AN specifically engineers its equipment for sonic performance rather than technical specification. The M9 RIAA Signature fulfills all AN Level 5 design criteria:

Pure Class A operation
Zero negative feedback
Single ended circuit topology
Valve rectification
Use of only the highest quality materials and components

Audio Note M9 RIAA main chassis

Audio Note M9 RIAA power supply unit

In an effort to preserve the purity of the incoming signal and retain the musicality of the original performance, complexity of the circuit is kept to a minimum. To achieve this goal, the M9 Signature phono stage uses a single ended, zero feedback topology.  They have found this to be the most linear design possible using pure Class A valve operation and removing the need for a phase splitter, which introduces unnecessary crossover distortion. The circuits are designed to minimize non-harmonic and time base anomalies, rather than producing vanishingly small harmonic or low intermodulation distortion measurements.

The M9 RIAA Signature phono stage uses two E80F pentode valves, one E80CC or E81CC double-triode valve, dependent on the required gain, and a 6463 double triode in the output stage. The internal phono section and output-driver section are independently powered by a dedicated 6X5 valve rectified power supply, based conceptually on the M10’s Galahad power supply, housed in a separate, external chassis. These power supplies also incorporate an ECL82 for voltage regulation and a 5651 as a voltage stabilizer.  AN silver wiring, AN 2-watt tantalum resistors, Black gate capacitors and AN silver foil signal capacitors are used throughout the circuit, along with in-house designed and manufactured custom output transformers.

An original idea used in the M9’s RIAA equalization stage is to employ an inter-stage coupling transformer with a designed value of leakage inductance to create a ‘virtual’ electrical component. Since reactive components such as inductors and capacitors exhibit losses due to DC resistance, hysteresis and other energy storage effects such as dielectric absorption, the M9 uses a specially designed RIAA transformer applying the normally unwanted leakage inductance between primary and secondary as a component of the RIAA equalization. The equalization circuit utilizes select silver foil capacitors and resistors for its partial and crucial operation in the inductive domain.

Like most of AN’s higher-end preamps, DAC’s, and phono stages, the M9 delivers its output via an internal single-ended power amp, complete with output transformer, which here is a silver wound piece, cored with custom annealed 55% nickel-iron C-Cores.  The transformer provides both single-ended and naturally balanced outputs.

Some set-up considerations

Initial listening with a variety of different power cords produced widely varying results. For my particular tastes, the best compromise was the Stage III Kraken although an argument can be made in favor of the AN power cords provided. All listening impressions were with the Kraken. Likewise, both chassis exhibited a certain sensitivity to isolation and greatly benefitted from being sited on Finite Elemente Cerabases.

In hopes of better isolating the contribution of each piece of the AN gear, only the Ypsilon phono stage was initially replaced with all other components being kept constant. In Part 2 of this article, the Ypsilon phono stage will be reinserted and the Ypsilon transformer replaced by the AN S9.  Finally the combination of the AN M9 and S9 will be inserted.

Listening impressions, which follow, are indexed chronologically by recording:

Scriabin, Poems – this being a DG, you don’t really expect RCA Shady Dog sound; however, the sound is quite good much of the time. Soundstage is very wide.  Imaging is a little fuzzier than with a Shady Dog or early Decca, but pretty much “there.”  Beside that, it’s Scriabin . . .it’s supposed to be a hazy opium dream, right? With Abbado conducting Boston, we are getting a very accurate replica. The 1970’s multi-miking is somewhat apparent, but what a nice feathery touch to the strings in the quiet moments, and plenty of detail.

Gerhard, Don Quixote Dances (Argo) – strings are quite lush. Some moments seem a bit muddy but then you realize that you are hearing everything. There is good air around the instruments. Soundstage is wide and deep with good localization of instruments. Detail retrieval is good.

Britten, Sea Interludes (EMI Columbia SAX), Guillini – In this instance, the sound is so good that I can almost overlook the rather poor quality of the vinyl used in this pressing. There is not a hint of grain in the strings even when they get loud. There is a full, uninterrupted soundstage across the width of my room with the speakers almost completely disappearing. Image placement is precise. There is air around the instruments. In fact, the stage layout is remarkable – this is as good as it gets. For those of you who are film music buffs, you will recognize the rather shameless borrowing of this music by Jerry Goldsmith in The Blue Max.

Level 42, World Machine– One thing that I really like about the AN M9 RIAA is that even with a dense and thickly engineered mess that a record like World Machine is, I can find musical details that reward my attention. The rhythm keyboard behind the rather drab solo in the third cut for example had a most sensuous attack, like the early Fender Rhodes, that greatly tickles the ear. The bassist is a distinct hero on this record. He adopts different tones on each song. On the second cut he has a Jaco Pastorius sound and every note with its distinct burp is quite unmistakable. That comes from hearing all of the top of the tone.

Audio Note SOGON LX 96 umbilical cables

Publisher’s note: Audio Note UK has graciously provided the following article detailing the conceptualization and design of the company’s M9 RIAA Signature phono stage.

The article is authored by Andy Grove, electronics designer of Audio Note UK.

Read the Audio Note M9 RIAA Signature Review, Part 1

The M9 was intended, from it’s very conception to represent the state of the art in vinyl replay, and, by that, I don’t mean academic performance such as reducing deviation from the RIAA curve to some ridiculously small amount, or cooling the whole thing in liquid helium to achieve a low noise figure.

No, the idea here was to create an instrument which would not only extract as much information as possible from the groove, but also portray that information in the most elegant, beautiful, artistic, musical way possible – even if it does involve liquid helium cooling…

The phono input stage comprises two SQ (Philips, Special Quality) E80F pentodes, one per channel. The E80F is quite electrically similar to the EF86 – designated as a low noise, low microphony valve especially designed for this type of service, except the E80F, some would claim, more successfully achieved those aims.

I chose to use a pentode over the cascode (can be viewed as a pseudo-pentode formed by two stacked triode sections) I would normally use, because I needed to connect the pentode anode direct (well via a coupling cap) into the RIAA network, rather than via a series resistor. I am using the pentode as a transconductance device (which means it outputs a current proportional to the input voltage), and need the extra headroom a pentode provides over a cascode at a given anode voltage.

E80F + direct connection to compensation network = energy

The EQ network itself is a departure from the norm. The norm being a RC network designed more or less according to Stan Lipshitz’s 1979 paper (which, incidentally, contains a mathematical error). There are other varieties, other means of achieving the RIAA compensation curve, such as the impedance matched LCR networks (like Tango EQ-600P), and the LR network by A. Likhnitsky which uses leakage inductance, created by magnetic shunts.

The M9s is different again; it is a symmetrical, high impedance, LCR network, in which the L is the pure leakage inductance between two coils in a specially wound transformer. The pentode (as a transconductance device) senses the input voltage, and drives a current into the network entry port, and, at the exit arrives the frequency compensated version. It’s a little bit like a V/I conversion then a frequency dependent I/V conversion, with amplification.

The L, the leakage inductance results from the imperfect coupling between two coils in a transformer, this is usually a problem as it causes ringing and high frequency rolloff. Here it’s deliberately magnified to cause a big, but controlled HF rolloff (according to RIAA curve).

All real components come with associated ‘parasitic’ components attached to them, for example, a capacitor will have parasitic inductance and resistance. All inductors have similar parasitics which tend to make their performance less than ideal. However, conceptually at least, leakage inductance is perfect – which makes it an ideal candidate for RIAA EQ, especially for the HF part of the curve.

The wire used is of course Audio Note’s own specially drawn and coated silver, and the core material is the absolute best of the best 80% class nickel alloy, specially heat treated for us, even the thickness of the laminations has been carefully arrived at.

After the compensation network is another stage of amplification, which can be a E80CC SQ double triode, or one of several versions of ECC81 or 12AT7 (in RIAA versions) which is an altogether different valve, and, here, chosen for its higher gain. Remember, this is a product which cost as much as a luxury car, and many go to customers with particular requirements, so we often make customisations to them.

In the regular M9 pre there would be a volume control, and another stage of amplification, but, in the RIAA version, there is a single Telefunken 6463 double triode valve for line purposes, which is why we sometimes fit a ECC81 further back in the chain – to give more gain and drive if required.

The 6463 delivers its output via another special Audio Note designed and in-house wound silver wired transformer. In effect, the output stage is a little like a small SE triode power amp.

The output transformer itself has a naturally balanced output formed by passing the secondary through the entire transformer twice, and we provide both balanced and SE connectors. It is possible to make bespoke modifications to the transformer to, for example, to provide another partially isolated winding for a subwoofer. This is of course only relevent to the full pre.

This transformer is (of course) silver wound, by hand, and uses a 55% nickel iron C Core. This material is a unusual and difficult to process, but, can offer properties somewhere between that of the 50% class materials and the 80% class. We worked through many iterations of heat treatment with our foundry partners to arrive at what is a unique, audio specific core material. It’s difficult to use, due to its relatively low saturation flux, but it offers unprecedented transparency and tonal colour.

The signal circuitry just about fills the entire chassis, and we would like to keep a little spare for (on the full pre version) such things as balanced input transformers, so the power supplies are housed in a separate chassis – which of course helps with hum and noise.

These PSUs are based on those used in the M3, M5, M6 and M8 preamps, and the RIAAs and DACs based on those platforms, which are in turn inspired by the Galahad circuitry used in the M10 and M10 Sig.

There is one supply for the phono stage proper and one for line, each with a 6X5 rectifier, a 5651 reference valve and a ECL82 triode power pentode, for the actual voltage stabilisation.

Strictly speaking, I prefer the term stabiliser here, because the purpose is to hold the supply voltage constant, to shield the analogue circuitry from hum and mains fluctuations. This is not done with high feedback and the aim of creating an extremely low output impedance. Instead, there is a feed-forward/feedback bridge, similar to the Galahad, which gives very high ripple rejection, but without gripping the following circuitry like an iron fist.

In audio, there is too much talk of control, like it’s a fear of letting go, the fear of falling asleep because dreaming is the loss of rational thought. But, we have to let go to enjoy music. Composing, playing and listening to music is a kind of conscious dreaming, a flow experience, whatever we care to compare it to.

The M9 is not about control, or parameters, or thinking, it’s about music, whatever that is.

It’s all about simplicity, and it is something audiophiles tend to forget. It seems the machinery of industry always wants to push a new feature, another aspect of operational complexity. Our cars are becoming technologically laden, far more so than computers of ten years ago. Phones are ubiquitous with the continual addition of functionality. Bluetooth invisibly conjoins mobile audio devices. Our homes are becoming “smart,” our children questionably so. Why, then, shouldn’t our components and systems for the home two-channel system also become more complex?

Some have, and a prime example is the previously reviewed Benchmark AHB2 Amplifier that has so much going on technologically that it takes a hefty Owner’s Manual to explain it all. In that review, I spent time comparing the straightforward operation of the amplifier under review here, the Power Modules Inc. Aria Monoblock, to the AHB2. While there is no shortage of configuration flexibility with the Benchmark Amp and it utilizes the new Class AAA operation developed jointly with George Lucas’s THX, it did not show itself superior in performance to the Aria when the latter was set up well.

The old adage that the best signal path is the shortest one still holds true, not just at the component level, but also potentially at the system level. In my experience it holds true in terms of power and signal cables (i.e. straight wire cables are better typically than networked or filtered cables), in terms of circuit layout in components, and in terms of simpler versus more complex products. Even when it comes to digital sources like Tidal, and music management software such as Roon, turning off features that purportedly enhance the listening experience, like up conversion of the signal or Roon’s Headroom adjustment, improves the sound of playback of files and streaming audio. (Please note the warnings in Roon associated with defeating the Headroom adjustment. You turn it off and play the system at unsafe listening levels at your own risk of damage to your ears and/or equipment.)

Aforementioned simplicity principle notwithstanding, there seems a movement away from simplicity toward preamps, DACs, Integrated and even power amps festooned with functionality – all requiring longer signal paths. By the time the average audiophile constructs his system the signal has to be pushed through a maze of circuits. Thankfully, there are still purists around, those who like less in the signal path. One of them is Dave Belles of Power Modules Inc. in Pittsford, NY, who has been making high quality, no gimmick audiophile pre and power products for decades.

Dave does not subscribe to the school of component design wherein the front panel is festooned with features that would be used seldom, if at all. The internals are arranged by necessary function, according to old school classic design. The secret sauce of the amp is the power supply. Dave tunes the power supplies in his amps for maximal musicality of the amplifier. I am not at liberty to discuss the particulars, but please trust me when I say that the power supply of an amp is a make or break element. Even upgraded outboard power supplies yield an easily discernible benefit to sources and DACs. A robust power supply and minimalist layout make the Aria a very desirable amplifier from a design perspective, and the quality shows in the sound it produces.

PMI Belles Arias Preamplifier

Like DAC, like preamp

Recently I had an opportunity to compare some high-minded, high bit rate and up-converting high-clock-frequency DACs to a simpler design, the BorderPatrol DAC SE (USB + SPDIF). This unobtrusive, well-built, streamlined NOS (Non Oversampling) DAC is the epitome of minimalist circuit design – if one can call a DAC’s topology minimalist. The simplicity is found in two essential areas encompassing two objectives, namely signal treatment and build. Rather than up convert the signal, which requires the application of algorithms, the signal is kept native at 16 bit/44.1 kHz. This allows for a simpler build eschewing devices such as opamps in the signal path. Consequently, the output of the BP DAC SE is directly from the DAC chip, which results in quite an improvement in cleanness and vibrancy over the up-converting DACs I have used.

On a thread at Audiogon.com the question was asked: what kind of car would your system be? I responded instinctively, the Ariel Atom, and in some iterations the V8 Nomad version. No prissy features, no sluggishness, just pure performance. The stripped down Ariel is a supercar that normal mortals can afford (well, at least some normal mortals). It is all about the simplest design that can accomplish the feat of extreme track or, in the case of the Nomad, off road driving.

My idea of extreme audiophile sound is not to put up a rig that lulls my ears. I’m not interested in very warm sound, sound that is “rounded” by the elimination of some definition. I want to hear everything, but in no way do I wish to hear it harshly. Continuing with the Nomad V8 illustration, I want to go off road at high speed, but to have such a capable vehicle that I don’t get shattered in the process of doing so. Similarly, I want a rig that is able to handle anything musically, and I do mean anything, even the ugliest, most tortuous music that demands extreme equipment to produce cleanly, yet without a hint of stridency or roughness not inherent to the recording.

Does that sound like an impossible request? Honestly, it is for all but a few systems. There are very, very few rigs at shows or in homes that can do so, perhaps 10% of all extant systems. I have been putting up hundreds of systems for more than 12 years and most of them can’t be said to have unlimited performance with perfect manners. If I can’t do so easily after assembling dozens of systems at the $50k-$100k mark, neither can you.

One thing is for sure, you will not be moving toward the most extreme performance rapidly by stuffing the signal path. It takes herculean efforts to recapture what is lost through plying the signal with additional processing and/or extra electronic components. Why we do this to ourselves is a testament to wishful thinking that the more complex something is, the better it must be. It’s simply not so in most cases.

For instance, my fancy refrigerator with water and ice dispenser went rogue one night when a plastic part in the dispenser failed, and it flooded not only our kitchen but also a portion of the downstairs, taking out some of the ceiling and flooring of the basement. The listening room was completely unaffected. That was the last time those fancy features will ever be used; they were disconnected. It has now become a very reliable refrigerator that makes ice cubes in trays and keeps food in a climate-controlled environment. Simpler, better. In the same way, consistently I can make an audio system sound superior by removing the preamp from the chain.

It’s been a while since tube/valve gear made any extended appearance in any of my homes. Nothing against the gear, but what with graduation and traveling and not settling down it just wasn’t practical. This is not to say that in my time I did not possess tube/valve gear from Audio Research and Conrad-Johnson, but those times were indeed fleeting, and with the renewed interest in tube/valve gear by the public I thought it high time, now that I’m more situated,to start taking a look at what’s new.

Having attended and covered more than a few Hi-Fi shows, I would always make my way to the Rogers High Fidelity exhibit room where their gear was coupled with Burwell & Sons horn speakers. There was something about the sound. As I got to know Roger Gibboni, Rogers’ President & chief designer, and Rob Pleyer, its Director of Sales, I became more and more comfortable with them, to the point that I could ask to audition their idea of a 21st century integrated amplifier, the 65V-1, a class A, singled ended, lower power design. The unit they sent came with EL34s, but purchasers can specify their preference for KT88’s if they so desire.

The Rogers High Fidelity 65V-1 integrated amplifier ($4,000) comes with a lifetime warranty and has the look and tangible feel of a traditionally designed unit.With its Teflon coated military specification wire and military specification components, not to mention its point to point wiring, one could rightly think the 65V-1 was designed to be combat ready, and that would not be too far off target. But don’t let all that military precision fool you, there’s a wrinkle here sure to please the folks in Cupertino. Rogers has designed an iPad [iOS] remote control app relying upon Bluetooth connectivity to do the following:

▪ Display the power out on a virtual VU meter
▪ Enable users to switch between triode/ultra-linear output (more on that to follow)
▪ Enable users to switch between line level inputs

It took a while for me to become accustomed to using an iPad to remotely control the 65V-1 and, mind you, I’ve always been an early tech adopter. Still, being as it was the first time encountering such, I had to remember that when grabbing for the remote that, given it’s an iPad, it does indeed multitask, and for that reason just might be off somewhere in another room. Note: In my communications with both Roger and Rob of Rogers, I pleaded with them to think about making the iOS app available for the iPhone as well. And from what I understand some new designs will be iPhone compatible, and I’m hoping the 65V-1 will be retrofitted.

The remote-control app and its virtual VU meter are critical. The meter is calculated in watts from 0 to 25 and it samples both channels’ power output and in turn displays continuous average power. Simply put, Rogers would like its customers to note when they start to hear clipping, and then turn the volume down to just about 20% below this level. For the uninitiated this takes practice. It is not an insurmountable task, and while the iPad remote control is not absolutely necessary, it is fun, but the purplish LCD-like display can be hard to read at times.

The 65V-1 is a kit that an engineer could just … its look, its feel, the mechanical switches really brought me back. It is physically imposing at 17” W x 7.5”H and 12” D, but at 24lbs, the 65V-1 is lighter than I would have thought. As stated earlier, the model sent to me came with Mullard EL34 tubes/valves, I could have requested KT88s as well, but I let Rogers decide. To be fair, this started out as Rogers being rather friendly to me and sending me the unit to audition and not review, so I can get a better read of Rogers as a company, its design philosophy and workmanship. Over time, I became entranced to the point where I just wanted to share my experiences with my readers.

You will notice in the picture above that one of the toggles is expressly for switching between headphones and speakers. It’s a nice feature to have as I made great use of the headphone jack when I transported the 65V-1 from my primary listening area into my office, where I work more often wearing headphones. This is an oddity, as I cannot stand wearing headphones in my normal listening configuration, but when sitting near field, I’m okay with it. Hmm. This will require some self-exploration. Note: While Rogers does supply a headphone jack, one is not likely to purchase a 65V-1 solely for that purpose. It did an admirable job of powering my Audioquest Nighthawks and Meze Classic & Neo 99 and, if anything, I would say this functionality is a very welcome feature and for some could be a deciding factor in comparison with similar tube/valve integrated amplifiers lacking such.

Connecting the 65V-1 is pretty much straightforward. About the only thing I could mention is that upon powering up users should note that there is a red light on the power toggle. This indicates the unit is powered on. The digital display will take about 60 seconds while the filament slow-start circuit starts up. This slow start circuit is designed to significantly increase the tube lifetimes. Yes, there is a Bluetooth antenna that comes with, and yes, it is easy to screw on and install. The iPad remote control will not work without that being attached.

Even though it’s been a while, I still remember that tube/valve gear doesn’t just need but demands high efficiency/sensitive speakers. To that end I was prepared. I could have connected some less than efficient speakers, but to what end? I knew what that would mean, and I was not going to put either myself or you through it for that matter. I assembled a series of speakers with which to listen to the 65V-1, all of which are rated at 90 dB or higher:

• Audio Note AX-2
• Blumenstein Audio Marlin
• Blumenstein Audio Orca
• Klipsch Quartet
• Tekton Design Mini Lore Monitor

These speakers range from 90 dB to 97 dB in rated sensitivity by their respective manufacturers. The 65V-1 played nicely with all of them. The AX-2 being rated at 90 dB gave me some initial concern, but that’s when more fun began as I started switching between Triode and Ultra-linear output modes. Long story short, as I wrestled with the idea of providing a history of and detailed definition/description/differentiation of the modes, the number of pages and the sheer boredom started setting in. Again, I am not going to put you, my readers, through that. What I will say is that in ultra-linear mode the 65V-1 appears to pack more punch, although it comes with a loss of detail in comparison to triode mode, in which less sensitive speakers fare worse and the higher efficiency speakers let me relax and soak in the finer detail and the nuances of the recordings in my listening sessions.

Here’s a breakdown of how each of the speakers fared with respect to output modes: the Audio Note AX-2 and Blumenstein Audio Marlin speakers sounded fuller and more authoritative in Ultra-linear mode. The Blumenstein Audio Orca, Tekton Design Mini Lore Monitor and Klipsch Quartets took just about everything in stride and flourished in Triode mode.

What I listen to is not important, and should not be. This is why I continually omit my reference recordings in my writings. They are mine and not yours. Why am I highlighting this at this juncture? Because it speaks to ultra-linear vs. triode mode. At the end of the day the decision is subjective. Yes, there will be compromises and trade-offs but those are decisions only you can make and hear for yourself. I can only guide you so far. What I can share with you is my Facebook Project: New Album Releases – curation and listing of recordings released in calendar year 2018 – and apart from my reference recordings, I listen to a great deal of this music while auditioning gear, so maybe you’ll find something here: https://www.facebook.com/groups/newalbumreleases

My primary listening room is large (24’ x 20’) and I must say that with the appropriate speakers the Rogers 65V-1 filled the room with sound. The ephemeral glow of the tubes at night was an added plus. They transported me back in time…fade to a Montgomery Burns moment. The 65V-1 felt at home in my office as well, I just had to clear up some space, which forced me to de-clutter as its footprint is noticeably larger than either my Bel Canto Design s300 or the truly diminutive PS Audio Sprout 100. Well built, professionally designed and taking a bite out of 21st century technology, the 65V-1 could very well be the tube/valve integrated amplifier for this generation. There’s more going on under the hood.

Copy editor: Dan Rubin

Manufacturer’s Comment:

Rogers High Fidelity would like to personally thank both David Blumenstein and Dagogo for reviewing our model 65V-1 and for all of the insight on it’s merits for the end user.

Thank you and best regards,

Roger Gibboni – President
Rogers High Fidelity

Read Audio Note M9 RIAA Signature phono stage Review, Part 1

Audio Note M9 RIAA Signature

This is the second of a two-part review on the Audio Note M9 RIAA Signature phono stage. The first article described the sound of the M9 and this one will focus on 1) a comparison of the Audio Note M9 RIAA Signature with the Ypsilon VPS-100, 2) a comparison of the Audio Note S9M step-up transformer and the Ypsilon VPS-100, concluding with 3) listening impressions of the Audio Note M9/S9M used in conjunction with the Audio Note M10 Signature line stage.

The Ypsilon VPS-100 ($26,000)/Ypsilon 16L Step-up Transformer ($6,200)

Ypsilon VPS100 Valve Phono Stage

Ypsilon VPS100 interior

As in Part 1, listening impressions are indexed chronologically by recording:

Johnny Hodges – Compared to the Audio M9 in general, the recording with the Ypsilon VPS-100 was lacking the fullness of the brass and winds through the Acapella Triolon Excalibur speakers, and missing some of the ambience, particularly in the center of the stage.  The basses seemed about right and cymbals did have a bit more bite than with the M9.  Piano had somewhat more tinkle.  On tunes that were less loud, edge with the Ypsilon was somewhat less apparent.

This recording did seem spectacular on the M9; on the Ypsilon, it was very good but missing the “wow” factor.  This related to the lack of fullness of the stage, hence the tendency of instruments to sound thinner.  It was almost as if we were missing a bit of information with the Ypsilon in the midrange; however, this is not to say that it did not retrieve a significant amount of what was in the grooves, especially in the topmost octaves.

Brahms, Symphony 2, Karajan – Here, the sound of the recording was significantly better than with the Johnny Hodges.  There was good, solid bass with clarity between the lines.  Conversely, the sound remained somewhat brighter than the M9 and thus a bit bleached in comparison.  The midrange continued in comparison to lack some warmth and heft of the M9, but this was more a matter of degree than a total absence.  The orchestra in general seemed slightly more forward.  Perhaps this is a bit peculiar, but while with the M9 there was more midrange depth and warmth, the Ypsilon might have displayed more clarity in the same frequencies.  Given my preferences, I certainly enjoyed the M9 more.

Debussy, Images, Rosenthal, (Westminster) – It was somewhat of a mystery why this record sounded so good, but it did on both the Ypsilon and the Audio Note.  On both, the soundstage was huge and the instruments were vividly forward, and still seeming to be in the space of a hall.  I would rank the experience superior on the Audio Note; however, there was no mistaking the audiophile characteristics as displayed on the Ypsilon.  The only thing missing in the Ypsilon comparison to the M9 was some of the warmth and depth of the midrange and the slightly smoother highs of the Audio Note.

Respighi, Brazilian Impressions, Paray, (Mercury) – This was a simply amazing sounding recording with some tape hiss.  Had I never heard this on the M9, I would have been much happier with it on the Ypsilon.  The soundstage was huge, the notes were all there, as was the ambience; the detail was rather forward, but amazingly present.  But the tape hiss.  I rather liked the antiquity of the sound of the tape hiss with the M9.  With the Ypsilon, the tape hiss was lodged in my eardrums like a rattling ventilator in an old concert hall in the winter or the low-pitched rumble of a subterranean train running underneath the concert hall.  And then there was the sound of the strings – it seemed like it’s more shimmer than wood on the Ypsilon.  When they got loud, they didn’t sound so much like violins as a recording of the instruments, which was pretty damn good.  On the M9, there was more of the illusion of experiencing the music as it happened.

Talking Heads – Again, with the Ypsilon, everything was there but a bit lean.  The guitars were almost painfully scratchy at times.  Nevertheless, the excitement of the best tunes came through well and was beguiling.

Faure, Piano Quartet, played by the Festival Quartet (RCA) – The Ypsilon emphasized the strangeness of the recording.  The strings were very forward with almost no air, no room to breathe.  On Side 1, this could be almost painful at times; yet, on Side 2, it worked and the third movement was absolutely breathtaking.  Then came the realization that side 1 of this pressing was cut hotter and therefore suffered as a result.

Koechlin, Jungle Book, Side 4 – At a point early on, the strings got quite active, from the cellos up.  There was quite a bit of bow scratching noise.  The Ypsilon seemed almost to focus more on attacks than on the wood behind the attacks.  It was aggressive and not entirely pleasant; however, much of both sides 3 and 4 were lovely.

In summary: the Ypsilon VPS-100 was, all things considered, a phenomenal piece of equipment, but it was pretty damn revealing of certain things, often at the expense of some musicality for which the Audio Note M9 RIAA Sig. seemed better voiced to reveal.  Consequently, 50% of records seemed musically satisfying on the Ypsilon VPS100 while more like 80% seemed musically satisfying on the Audio Note phono stage and this was not because the AN was euphonic or in any way sacrificed accuracy.  The AN hid absolutely nothing; however, it did bring more of the midrange detail to the table as well as an evenness across the frequency range, which in my experience always brings the listener closer to the magic of the original performance.

To be fundamentally fair, I should mention that my Ypsilon YPS-100 was the version utilizing copper wire throughout and not the more expensive version, which employed the same circuit and parts but used silver wire and silver wound transformers throughout.

Destination Audio 45 monoblock power amplifier

Destination Audio is the realization of company founder Sam Wisniewski’s dream of the sound of the directly heated 45 tube in triode mode. From the creation of the two-chassis 417A tube phono stage to the two-chassis 76 tube-based preamplifier, the 45 tube-based monoblock amplifiers and the Vista horn, the creative objective of all of Sam’s products was to convey the magic of the 45 tube.

Destination Audio is based in Poland. Sam is a self taught designer of speakers and amplifications with no academic background: ‘I have always been in love with the 45 tube and I wanted to create a loudspeaker which is efficient enough for 2 watts to play freely. The bass module was the biggest problem and that’s why I decided to develop a high-performance bass speaker. It was a process that lasted for several years until 2015 when the final version of DA Vista was presented at the Audio Show in Warsaw. As for the amplifiers based on the 50 tube, I had the idea in my head for two years. When I told Art Smuck [president of North American importer Arkamima, Denton, TX] about this idea, he immediately offered to fund it and thanks to that, it mobilized me to make these amplifiers. The effect was surprisingly great. Were it not for Art, these amps would not be present today. Art is in a sense my “driving force” for action.’

Sam has been visiting the states since he was 24, and his first exhibition at AXPONA in 2017 gained him notoriety when his buddy started calling him ‘Sam’ Wisniewski instead of the original Wlodzimierz. The name stuck ever since.

When asked for more specifics on his love for the 45 tube, Sam confessed not being very keen on stories of the 45 and 76 tube except that former was supposedly made by RCA for cinema use as the era of the silent films was coming to an end. Per Sam, ‘the 45 tube has something special in which you can fall in love. I did. People say 45 is the magic tube, and I’m sure they’re right.’

He also believes his lack of indoctrination allows him to break free of the traditional thinking and achieve something unique: ‘I love what I do and when I build something, I want to get a beautiful sounding product. The sound has to be mine and I have to love it. It turned out that I’m not alone.’

It is a fact that the 45 is considered by some to be the best sounding tube among directly-heated triodes; Sam adopted the Emission Labs edition. According to the EML website, ‘Best sound of the 45 is developed at the very sweet first Watt. The 45 will reward you with best sound when you are using high efficiency speaker systems, starting at 96..99dB. At the same time, here comes a drawback for the amplifier and the tubes as well. Such speaker systems of 100dB and above will make smallest imperfections audible, and the amplifier must produce as little hum and noise as can be. This is difficult. When you are thinking of 108db horn systems this stresses the design limits of tubes and amplifiers a lot.’

Amorphous-core transformers were adopted for the monoblock, as Sam preferred, again, the ‘unique, detailed’ sound of the amorphous core to other types of transformers, such as silicon and permalloy. Sam was of the opinion that ‘amorphics’ were able to convey something more than what was contained in music. Compared to other types of cores, however, amorphous transformers do not have as ‘abundant’ a bass as others as to be slightly light sounding. However, by adapting the transformer parameters to a specific tube, Sam believed he could get great results. Destination Audio transformers were made to order with exacting parameters to achieve the best performance out of the 45.

Destination Audio 76 preamplifier

A two-chassis 76 DHT linestage that served as a perfect companion to the 45 monoblock amplifier was included for this review. Sam chose the 76 tube for its tone, but it was rather susceptible to microphonics. The solution came in the form of ‘muted internal stands’ as in soften suspensions, which reduced the effect of microphone. The two-chassis design separated the tube power supply from the main, signal handling chassis. While the open top design of both chassis of the linestage made component stacking for space saving out of the question, I often obtained superior performance of the component by placing the PSU away from the main chassis anyway. A lone 5U4G tube rectified the power supply unit.

The front of the main chassis was adorned with two round, gold knobs, namely VOLUME and SOURCE. The volume control was a Japanese Alps potentiometer. Continuous in rotation and not stepped, it made for effortless volume adjustment and was completely silent in operation. I have experiences with preamplifiers equipped with expensive volume pots where the implementation lacked precision and consistency during turning, but the DA 76 linestage was rugged in construction and completely quiet in operation. The SOURCE knob provided selection of four pairs of RCA inputs. A costlier and more exotic option of amorphous TVC transformer coupled volume control was optional.

Destination Audio 417A phono stage main chassis

Destination Audio 417A phono stage power supply unit

Handling RIAA equalization was the 417A tube phono stage with a separate PSU. Flaunting three gain stages with two WE417A and not two but four 5687, the 417A phono stage was arguably the most brilliant star of the phono stage-linestage-power amplifier trio that was already devastatingly spectacular, utilizing LCR transformer to achieve RIAA equalization. Capable of high transconductance and hence low noise and widely adopted in microphone preamplifiers, Sam chose the 417A for both the resultant sound quality and suitability of the tube for use in a phono stage. The phono stage featured a pair of the NOS WE417A. Per a 1962 Western Electric Data Sheet, the WE417A was described to be ‘intended primarily for grounded-grid operation in the input stage of broad band amplifiers.’ The 5687 tubes were selected for the second and third stage for their sound quality as well. Again, a lone 5U4G governed the outboard power supply unit.

Between the WE417A tube and the second stage, an amorphous interstage transformer was used. While production units could be set for a load impedance of up to 200 Ohms, the review unit was set for 10-150 Ohm and 0.2-0.4mV of output. It is noteworthy that the 417A could also be set for a moving magnet load of up to 85k Ohms! Set to a gain of 72dB on the moving coil, the 417A was really designed for use with low compliance cartridges. The $9,995 Koetsu Jade Platinum with 80-1k Ohm impedance and 0.3mV output, $5,895 Kuzma CAR-50 moving coil cartridge with 100 Ohm impedance or less and 0.3mV output and the $4,499 Sumiko Palo Santo Presentation with 100-1k Ohm impedance and 0.5mV output were proven prime partners.

The Kuzma and Sumiko both exhibited beautiful textural compositions and massive tonal ranges, with the Kuzma with its 4N silver wired-coil and sapphire cantilever edging out on superior displays of nuance and low-level background instrumentations, such as a rhythm electric guitar amidst a group of players. The low impedance requirement of the Kuzma made it the star with natural balance of spectral presentation at the lowest price among the three. The Koetsu and Sumiko would normally sound slightly less brilliant at the top-end at such low impedance with lesser tube phono stages, especially with the Koetsu sounding a little less energetic in the upper midrange and up than I’d like; but in this case, it was nuanced, dynamically unimpeded and tonally spectacular.

This was my first time experiencing a WE417A phono stage in a 45-based single-ended triode amplification and horn system and the effects were more than subtle and utterly sublime. As of this writing, Tube Depot continued to carry the NOS WE417A at around $175 each. Time to stock up, tube aficionados.

And here comes the most visually striking member of the family, the Vista horn.

I love both of the new amps by Gold Note, the PA-1175 MkII and the PA-1175 MkII. Both are solid state, 200 watts per channel. Both are bridgeable to 520 watts per channel and even have the same styling. These two amps inhabit the same chassis, but they are distinct. One switch makes them both distinct and symbiotic. The Gold Note PA-1175 MkII offers the audiophile two distinct amps in one due to its unique Damping Factor function. But, let’s not rush so quickly into the mystery of this amplifier. First we must have some technical descriptions.

I know that a company’s history as well as an amp’s physical descriptions and basic operations are the most scintillating aspect of reviews, so let’s get on with it. The PA-1175 MkII is a class A/B design from a team that has been building OEM/ODM designs for more than 25 years, but six years ago become a distinct brand. It is the largest independent Italian audio company and is headed by mechanical engineer Maurizio Aterini, the founder of Gold Note. The company’s name denotes the quality of the products, the sole purpose being the achievement of the highest degree of musicality.

Maurizio’s first designs were turntables and tonearms. As he collaborated with other engineers and designers, other components were brought to market. The PA-1175 is the first Stereo/Mono power amplifier carrying the Gold Note name. It incorporates the knowledge gained through the years in development of single ended large power amplifiers.

The amp is classically understated, with a thick, brushed aluminum façade sporting two diminutive buttons on the right hand side. One button is labeled “DF” for Damping Factor and the other is the unlabeled front On/Off switch. /To the far left, where two channels in the faceplate reduce eye fatigue of the large field of metal, resides the Gold Note emblem embedded as a coin, and a pinhole blue/green LED indicating Damping Factor selection.

On the backside the classic layout involves a true balanced configuration carried through the back wall of the amp to mirror image pairings of independent fuses, single ended and balanced inputs, and L/R speaker cable posts. In the center are the Master power switch, 15 Amp IEC, and a tiny “BTL” switch inside an impossibly small cavity. BTL stands for Bridged Tied Load (in casual parlance “Mono”).

An unusual aspect of the PA-1175 is what the website calls a “unique cut spiral nucleus” toroidal transformer that rests upon Ducati silent blocks. This transformer is said to be completely stable and to cancel any mechanical vibration. The involvement of Ducati to reduce noise makes me formulate absurd phrases such as, “high speed silence.” Don’t laugh; some amp makers use products made by Bybee, which some say are metal tubes filled with dirt

Not BLT, but BTL

As has been the case historically with stereo amps having capacity for mono operation, the PA-1175 was superior as a mono amp to its being used in stereo mode for passive bi-amping. Bridging brings a wealth of sonic benefits similar to having a more fundamentally capable amp of the same design, while passive bi-amping merely improves slightly upon bi-wiring a speaker. Without the additional power that the tied load brings there is no sense of a vastly elevated performance.

One benefit of the tied load operation of the PA-1175 is an attendant improvement in low-end fortitude. This is appreciated to bring into equivalency the perceived force of the midrange and the bass. The amp in stereo operation tends to focus the mind on the midrange, which is fine because it is so appealing. But when the bass becomes as prominent as the midrange, the holistic appreciation of the amp is increased.

The situation is very like the alternative Mono mode of the Pathos Classic One MkIII Integrated Amplifier. You might say, “How are bridged PA-1175 stereo amps similar to the Pathos integrated amp?” The Classic One series of amps includes its own special feature, a Stereo/Mono switch that allows use of two units to act as mono integrated amps! It made for a wonderfully streamlined rig to run the source output directly into the “Pathi” as they are affectionately known. The Pathi were far more impressive as mono integrated amps than stereo integrated amps to be bi-wired (achieved though splitting the source analogue outputs and sending the pairs of them to the proper inputs of the Pathi). For all the finagling that went on trying alternative setups, the simplest and best sounding was the Mono operation. So also with the PA-1175. One can find an alternative wiring scheme, but it will sacrifice too much apart from Bridged Tied Load operation.

Quibbles

The few quibbles I have with the PA-1175 relate primarily to design philosophy. There are thin aluminum spires that are supposed to reside in the channels cut into the faceplate, but three of these fell off shortly after arrival of the amp. They are held on with what appears to be a two-sided adhesive and successive reinsertion was unsuccessful. A more permanent means of affixing these pieces is in order. I think I would be able to do a repair in the field, likely by using thin strips of double sided tape and reseating the spires, but I do not alter any review component on loan from a manufacturer. This is not a major problem, but a slight assembly error to be tweaked.

The BTL (Bridged Tied Load) switch is given poor access through a small cavity, and lacks indication of the setting positions on the amp’s back plate. I understand that the switch is recessed into the housing to prevent inadvertent toggling, but it is so petite and sunken that I had to physically stand the amp on its face, shine a flashlight into it and probe with a ball pen to slide it one direction or the other. The lack of a definite click or movement locking into place meant that I had to recheck after each attempt to move the switch. This aspect of the design had no bearing on operational performance, but it could stand to be improved. To be fair, the nature of the switch has zero effect on the sound and the audiophile normally does not switch between stereo and mono operation with frequency as I do. For most users the inconvenience will be short lived, perhaps as little as a single incident over the duration of ownership.

Because the setting of the BTL switch was so obscured by size and placement at one point I actually had the amp set to Stereo while I attempted to set up a Mono speaker wiring. When I turned on the system the resulting hum was quite powerful, not enough to cause damage but enough to make me react quickly to kill the power. This was an example of why I am always right at the amp, finger on the On/Off switch, ready to switch it off when firing it up after assembly of a new system. I thought at first it was a nasty ground loop hum, but after eliminating all the possibilities it occurred to me that despite my confidence the BTL switch might be set incorrectly. It was, and when it was truly switched over to the Bridged Tied Load setting there was no damage to the amp and, importantly, no hum!

One last design characteristic must be addressed, and it is important enough to mention, though not technically a design flaw. The effort to make the amp balanced through and through – remember, even to the operations of the back panel – causes a logistical connection problem for speaker cables when the amp is in BTL mode. The red/positive posts only are used to connect the + and – leads of the speaker cables when the amp operates in BTL (Mono). There is a serious shortcoming, and the word “shortcoming” is a propos to describe the frustration of discovering that not a single speaker wire I have on hand had long enough leads to reach breach the approximately 14” gap between the two red posts!

I love stereo amps that go mono, but this issue drove me crazy! For some time I could not use the amps in BTL mode because the leads of the speaker cables would not stretch a necessary 15-16”. I had, just days before, returned the last of the TEO Audio Liquid speaker cables on loan following review – it figures, as they were the ones with individual positive and negative runs for each channel.

As I was planning a review with ANTICABLES, I told Paul Speltz I needed custom length leads on the speaker cables. Another, less savory alternative, but one that eschews BTL operation, would be to run the amp in stereo but connect only one channel per speaker in order to use the entire power supply for the one channel. I have done this in the past with the lower powered First Watt J2 at 25 Watts per channel because it is a fixed stereo amp. However, it is a travesty to skip BTL operation for lack of proper speaker cables.

The issue with the BTL switch can be addressed in a running change in production. The issue with the spacing of the binding posts for BTL use is a nuisance, not a showstopper. Owners acquiring a second unit and moving to BTL mode would not be happy to learn that their beloved cable will not have long enough leads to reach the red posts. The solution is clear enough: Gold Note needs to be proactive in informing customers that longer leads are necessary.

In fairness I will add a word in defense of the wide placement of the BTL posts; it likely is a superior design in terms of performance, and likely their location was planned for that very reason. Shorter signal paths, direct locations without unnecessary runs jogging here and there, make for a discernible sonic advantage. I appreciate the care taken to ensure top performance. I would appreciate it more if there was preparation for the speaker cable needs ahead of time.

Combines the Best of Both Worlds for High-Res Digital and Vinyl Enthusiasts

NAD Electronics, a leading manufacturer of premium home audio and video products, announced a feature-packed HybridDigitalDAC/Amplifier showcasing many of the company’s advanced audio technologies.

Designed to appeal to the most ardent hi-res digital and vinyl enthusiasts, the D 3045 has it all: HybridDigital 60W per channel amplifier, Asynchronous USB 24/192 Input, support for MQA and DSD, two way Bluetooth powered by aptX HD and a high quality moving magnet phono stage, all in a compact size that can be used either vertically or horizontally. The D 3045 is available this month at $699 U.S. MSRP.

NAD D 3045 DAC/Amplifier

The NAD D 3045 is everything a modern amplifier ought tobe; compact, energy efficient, powerful, silent, high-resolution enabled and packed with cutting-edge features like DSDand MQA playback. NAD’s expertise in both digital and analog engineering is clearly evident in this high performance, flexible yet affordable amplifier.

Featuring a 2 x 60W per channel HybridDigital amplifier in a small form factor, the D 3045 will astound many for its ability to drive difficult loudspeakers to satisfying levels without adding noise or distortion.

Calling on NAD’s decades of leadership in Hi-Res digital audio, the D 3045 boasts exceptional connectivity including an Asynchronous USB 24/192 Input. The D 3045 supports both MQA and DSD playback.MQA decoding is available on all digital inputs in additionto BluOS streaming content.

The D 3045 canfaithfully and accurately reproduce the full spectrum of sound encapsulated on the studio master. Until now, music loving consumers have only been able to hear an edited versionof the full fidelity because the delivery systems, be it tape, vinyl, or CD, did not have thecapacity to hold all the information contained in the studio-master recording. With hi-resdownloads and streaming, we can now enjoy exactly the same experience the artist heardin the studio when the recording was first made. Yet, 90% of theproducts on the market today do not have the full capability required to experience thisnew higher fidelity.

The D 3045 features two-way wireless Bluetooth capability that is powered by aptX HD for the highest possible sound quality available. Users can easily stream music from smartphones, tablets and laptops or can also use its integrated two-way Bluetooth feature and effortlessly stream music that is playing on the amp to any pair of Bluetooth enabled headphones. aptX HD is becoming more and more popular for its remarkable sound quality and low power consumption compared to Wi-Fi.

Drawing on their decades of analog know-how, vinyl lovers will be impressed that NAD engineers designed the phono stage for exceptional performance, featuring accurate RIAA equalization, ultra-low noise and an infrasonic warp filter.

The D 3045 accommodates inputs for the computer along with other digital and analog sources, including the newly added MM phono input. Coaxial and optical inputs allow many different digital sources to be connected, from CD and DVD disc players, to set top boxes like Apple TV or satellite and cable receivers. There are also analog inputs for iPods and older non-digital audio components such as FM tuners.

Also included in the D 3045 isa full-range preamp output as well as a subwoofer output for added connection flexibility. NAD also includes a premium quality headphone jack on the front panel that is connected to a dedicated, high current, low impedance headphone amplifier that will drive all but the most power hungry headphones, including planar magnetic designs.

Beyond impressive performance, a major focus for NAD has been finding new technology that can improve musical performance while consuming less power to operate and using fewer non-renewable resources to manufacture. The D 3045 is compact, environmentally sensitive and runs cool. NAD believes technical prowess and eco-friendliness is not only desirable but achievable. Its highly efficient design wastes less energy, resulting in extended component life an increased reliability. Standby power consumption is <0.5W.

Supplied with an IR Remote Control for convenience, the D 3045can be used vertically or horizontally. Its compact footprint is equally at home on a desktop, a bookshelf or cabinet to complement any lifestyle.

“Several years ago, NAD launched a revolutionary Digital Series that featured cutting edge technology with an integrated amplifier, a DAC and networking amplifier.”commented Greg Stidsen, NAD’s Chief Technology Officer. “Based on their success, what the market then asked us for was an affordable DAC/Amplifier that utilized our best digital technology with even more power yet retained the compact footprint and versatility. The answer is the D 3045 which checks all the boxes and is destined to become one of NAD’s most popular products.

Key Features of the NAD D 3045DAC/Amplifier:

• 2 x 60W HybridDigital Amplifier
• Two-Way Bluetooth powered byQualcomm aptX HD audio
• Asynchronous USB 24/192 Inputsupports MQA and DSD
• HDMI Audio Return Channel Input
• Coax and Optical Input
• Line Input
• High performance Moving Magnet Phono Stage added for vinyl lovers to complement digital connectivity
• Preamp and Subwoofer Outputs for additional connection flexibility
• Energy-Saving – new design technology consumes less power to operate
• Compact footprint- can be used almost anywhere, either vertically or horizontally

About NAD Electronics

Founded in 1972 and now sold in over 80 countries, NAD Electronics is renowned for its award-winning line of high quality components for audio, home theatre and custom installation applications. Since the beginning, NAD’s commitment to four core values – innovation, innovation, simplicity, performance, and value – have earned it a cult-like following that catapulted it to becoming a household name amongst audiophiles and music lovers alike. To this day, the brand continues to design and manufacture some of the most acclaimed and affordable hi-fi components that include modern features and technologies meant to appeal to a new generation of audiophiles.

For more information visit www.nadelectronics.com

Follow NAD on: Facebook | Twitter

22 February, 2019: Louisville, Colorado – Boulder Amplifiers is pleased to announce the immediate release and shipment of the 2108 Phono Preamplifier. The 2108 is a part of the 2100 Series and is Boulder’s reference level phono preamplifier.

The 2100 Series is Boulder’s highest-performing product line in continuous production.

The 2108 features several substantial advancements in technology and performance over the previous generation 2000-level phono preamplifier. Vast improvements have been made in sound quality through the use of better ground paths and planes, revised circuit topology, and lowering of the static noise floor. Increased use of surface-mount PCB technology, manufactured on Boulder’s own SMD manufacturing machines and ovens has also yielded improvements in noise radiation, propagation delay, parasitic capacitance and the elimination of lead inductance in selected circuits. It also offers improvements in unit-to-unit quality and consistency with the added benefit of improved long-term reliability.

Features and improvements in the 2108 include:

• Multiple Equalization Curves. In addition to the standard RIAA EQ curve, the 2108 features three additional curves selectable via a front panel button: FFRR, Columbia, and EMI. These equalization curves enable correct and accurate playback of LP records made prior to 1954. An option on the 2008, these EQ curves are now included as standard on the 2108.

• Dual Chassis Design. All audio electronics and control functions are contained within a machined aluminum chassis and all power supply and standby circuitry is housed in separate casework to isolate noise and prevent noise or hum from the power supply from interfering with sensitive
high-gain audio circuitry.

• +10 dB Greater Gain for MC Cartridges. The reduction of the noise floor of the 2108 has allowed for an increase in gain for low output moving coil cartridges without an increase in the noise floor. The net result is substantially improved low-level resolution and dynamic or transient response.

• 995 Gain Stage. The 2108 uses Boulder’s own 995 gain stage, a modular, discretely implemented, initial gain stage for significantly reduced distortion and noise. This reduction results in substantial improvements in clarity and low-level information recovery. All 995 circuitry is potted in a proprietary epoxy resin for consistent thermal stability and increased reliability and then mounted in a precision-machined aluminum housing.

• MC Cartridge Demagnetizer Pass-through. A pair of RCA connections is included on the rear panel to allow the use of an external cartridge demagnetizer for certain MC cartridges.

• Fully Balanced, Dual Mono Construction. Inputs and outputs are high quality, full-balanced 3-pin XLR connections and all audio circuitry is executed in a dual-mono configuration for increased isolation of the left and right channels.

• Three Inputs and Two Outputs. Three inputs per channel are available for connecting multiple turntables or tonearms, each with customizable “Personality Cards” which can be tailored to meet the resistive and capacitive loading needs of specific phono cartridges. Dual outputs are included to feed both a main listening system and/or a recording system.

• Quiet Logic System for Switching and Controls. All functions and controls are actuated with a logic system to eliminate any internally radiated noise, such as that from a microprocessor.

• All Cartridge Loading and Gain Settings are Performed on Boulder’s Input Personality Cards. All cartridge loading is handled by a single high-precision resistor instead of any type of switched or remote controlled loading system. The tiny analog phono signal is never run through any sort
of switch or relay or multiple solder connections that would significantly increase loss and distortion.

• Additional Features: Other features include a selectable low cut filter with high-pass cut off points of 10 Hz, 20 Hz, or Out, selectable true mono mode for monaural recordings played on a stereo cartridge, and extensive damping and shielding for each of the main power transformers to eliminate hum pickup in the audio stages or audible chassis buzz.

Full specifications for the 2108 are as follows:
Balanced Inputs 3 x 3-pin XLR
Balanced Outputs 2 x 3-pin XLR
Input Impedance MC: maximum 1000Ω, MM: 47kΩ.
Resistive and capacitive loading adjustable on individual Personality Cards.
Output Impedance 100Ω Balanced
Phono Equalization RIAA, Columbia, EMI, FFRR (London/Decca)
Maximum Output Level 28 Vrms
Distortion, THD 0.005%
1 kHz Gain, RIAA MC: 70 or 60 dB, MM: 50 or 40 dB
Noise (EIN), MC 160 μV A-wtd, 275 μV flat, 20 Hz to 20 kHz
Frequency Response, 20 Hz to 20 kHz RIAA: ±0.10 dB
Crosstalk, L to R or R to L -100 dB or better, 20 Hz to 20 kHz
Power Requirements 90-120V / 200-240V, 50-60 Hz
Power Consumption 75W Max

Weights and Dimensions
2108 Phono Preamplifier 18” W x 15.3” D x 5.75” H (37 lbs.)
45.7 cm W x 38.9 cm D x 14.6 cm H (16.8 kg)
2100 Power Supply 18” W x 15.3” D x 5.75” H (48 lbs.)
45.7 cm W x 38.9 cm D x 14.6 cm H (21.8 kg)
2108 Shipping 24” W x 23” D x 16” H (51 lbs.)
61 cm W x 58.4 cm H x 40.6 cm H (23.2 kg)
2100 Shipping 24” W x 21” D x 12” H (69.5 lbs.)
61 cm W x 58.4 cm H x 40.6 cm H (31.6 kg)

All specifications measured at 240 VAC mains power

The suggested US retail price for the 2108 Phono Preamplifier is $52,000. Export retail pricing will vary by country due to applicable taxes and duties.

About Boulder Amplifiers, Inc.:

Boulder is the world’s premiere luxury and high-performance audio manufacturer and is based in Louisville, Colorado.

It is a member of the Consumer Technology Association and is the last remaining “high-end” electronics manufacturer in North America to engineer and produce all aspects of its products in-house. Boulder was founded in 1984 as a manufacturer of broadcast and recording studio equipment, transitioning later to fine home audio electronics.

“The Bricasti M25 delivers a power-to-size advantage for the discerning listener.”

Shirley, MA: The M25 stereo amplifier finds a special place in the Bricasti family of amplifiers through its dual mono transformer design, essentially creating a hybrid of the single transformer Bricasti M15 stereo amplifier and its larger M28 mono-block brethren.

Like the entire line of Bricasti amplifiers, the M25’s fully differential balanced design delivers a fast, low distortion, open and harmonically accurate musical experience. Paired with any of the Bricasti line of fully differential digital to analog converters, a truly balanced system can be enjoyed.

The M25 integrates seamlessly with superb current delivery in a smaller footprint for those desiring additional power but lack the needed space for hefty amplifier pairs. Rated at 150 W / 300 W / 600 W per channel into 8ohms, 4ohms and 2ohm loads respectively, the M25 is designed and handcrafted in Shirley Massachusetts, USA.

Available for immediate delivery. Price is $19,900.

Parasound maintains a relatively long history in Hi-Fi. The brand has been around for decades and while still going strong, reliably and dependably, it manages to do so without a great deal of fanfare. Workmanlike is a word that has been used to describe their products; rugged and sturdy, they soldier on. I joined the Parasound Owners Group on Facebook to learn that a good number of them are loath to part with their gear and, from the build and quality of the products, I can see why.

My decision to live/reside on both sides of the Atlantic means stocking two residences with the requisite gear. In the States, the Parasound brand is prevalent, whilst in the UK, not so much. It is making inroads, so here in Central Ohio, Columbus to be exact, I decided to make things easy at the start by setting my sights on a workhorse of an integrated amplifier, one that could do pretty-much anything, and purchased a Parasound Halo 2.1 (now superseded by their HINT 6). The Halo 2.1 covered all the bases and, fortunately for me, it sported a phono stage. I say fortunately because as I shipped over a turntable along with cartons of furnishings and clothes from the UK, I absent-mindedly forgot that voltages can make a difference and without a great deal of work and relative expensive cost, my turntable took an unnecessary transatlantic voyage.

Compared to the US, vinyl records can be expensive in the UK, especially when the goal is to fill up empty racks and shelves in my listening room(s). With that in mind I went turntable shopping. While auditioning tables at home I realized that, while the Halo 2.1’s phono stage was more than adequate, it was not terribly efficient logistically to have go to the rack and snake my arms around the back and start shifting cables blindly. Enter Parasound’s ZPhono: minus a wall-wart (YAY) and minus hum and RF interference (double YAY) for which I am truly grateful. I auditioned numerous sub-$300 phono stages and one of those, which costs half as much and whose brand name raises eyebrows would be my nemesis. I bought one, returned it for a replacement and returned that one for a refund. Shielding is ever so important, and from personal experience the absence of a wall-wart is one less item that can be blamed for audible noise from hum and interference. In contrast, the ZPhono and the ZPhono XRM are as quiet as church mice with all of the tables I auditioned.

Having finally decided on the phono stage and having fitted the Rega RP1 with the now-infamous Rega Carbon cartridge, I descended voraciously upon all the local independent records shops. As the shelves filled and I started fleshing out numerous systems at home, I began purchasing and acquiring more turntables. Let me say this right here and now: a fully automatic turntable can be a social drinker’s really good friend when one’s faculties are diminished and eyes grow heavy. A good number of these new models possess integrated phono stages, and while relegating them to hell , they’d find themselves a suitable home in purgatory.

Fast-forward nine months and my bookshelves and storage units are now to the gills with records, and I find myself with a bevy of turntables: a Pro-Ject RPM1, two Denon DP-300F’s, a vintage Denon DP-47F, a Rega RP6 and a VPI Prime Scout. As I unpacked gear from storage, I started building multiple systems in the living room, and then one in the office, and one in the guest room, as one would do. #insanity #obsession.

Through this all I had become enamored with Parasound as a brand. When I heard that they were releasing the JC3 Jr., a streamlined version of the much acclaimed JC3/JC3+, and the ZPhono XRM (an upgraded ZPhono), I got on the horn to Richard Schram, Parasound’s CEO, and inquired about the products, wanting to write about them. First the JC3 Jr. arrived and then the ZPhono XRM. Both were a breeze to set up. It really does help if you burn an image of their respective rears, the business ends, in your mind remembering to reverse the image when blindly making the connections from the front. It is a skill a lot of us don’t realize we’ve attained until we sit down and wonder what just happened.

The ZPhono XRM made a big difference if for nothing else than its features. I’m always curious about how different an MC cartridge could and would sound from an MM cartridge, but I didn’t have an easy way to switch between the two without it being tiresome. The XLR outputs are a nice touch, but I was more taken with the addition of adjustable loading and a mode switch for stereo/mono and an input switch for MM/MC, both switches being on the front of the unit. Flexibility is a good—no great—thing. If I’ve learned anything over the years in Hi-Fi it’s that matching components is everything.

Logic might dictate that coupling a higher quality, more feature laden phono stage would improve any lesser cost turntable, but then I must remind you that for all the wonders High-Definition television brought to sporting events, it did not do wonders for newscasters, whose every wrinkle and pock-mark became all the more evident. The entry-level turntables I have here at my disposal, including a Parasound LTD-90 model I picked up on eBay, which I keep around here as more of a conversation piece, did not improve appreciably with the addition of the XRM. Swapping the phono stages out at the moment made it clear to me that a basic turntable partners just fine with a basic phono stage.

It was a different story with the Pro-Ject RPM1, Denon DP-47F and VPI Prime Scout. As one would predict with the latter two, I was pleasantly surprised to hear a noticeable improvement with the Pro-Ject RPM1, a rather fancifully designed table, and the vintage Denon DP-47F. These two tables came alive, as if they were jump-started. Recordings I had played on them connected to the ZPhono now sounded richer, fuller, with much more detail played with the ZPhono XRM. Imagine you’re decanting a fine bottle of wine and having it breathe for anywhere from 30 minutes to a few hours. The result will be that you’re able to pick up more of the wine’s properties, its characteristics, and that’s what the XRM was able to accomplish with these turntables.