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Sonneteer Byron CD Player Review

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All the technical details can wait. Eleanor Rigby from the Beatles’ Love album has just started and we need to talk about the sound – Now! Anyone familiar with George Martin’s re-engineering of the classics will know that this is a beautiful sounding album. But the Byron is revealing layers of detail I’d not tuned into before. And it’s doing this without sounding bright or cold. There’s huge insight here.

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You see, I think it’s easy to make “revealing Hi-Fi”. You just ramp down the lower mids and bass a bit. The mid range and treble are therefore emphasised and reviewers rave about the unrivalled levels of detail and taut bass (then in a sub paragraph mention that the bass might be deeper). The Byron doesn’t play that trick. It – unsurprisingly – shares some characteristics with the Orton amp also reviewed here. The detail and insight are really remarkable and yet there is no price to pay for this. The bass goes deep, the mids have warmth, the treble doesn’t tish or splash –  it’s an enjoyable easy sound.

I actually considered buying the Orton amplifier but have resisted ( I might yet weaken) as I want to remain impartial. But you know what? This kit sounds good dammit and people deserve to know.

The Byron does have weaknesses of course.  For £1500.00 I want a CD tray that doesn’t rattle as it ejects. I also want a digital input. If I’m buying a CD player based on how it sounds alone (is there another reason?) I want it to make my streaming devices sound this good too.

Anyway, back to the sound.. I’m being drawn into the cymbals, for the benefit of Mr Kite.  The plodding bass line has a round chewy feel to it, while the merry go round organ is flying off the walls. This is fun without being tiring. Sonneteer really have made a good range of kit here. The build (CD Tray aside) is rock solid. You could bang nails in with the chassis (if you can lift it that high). It sounds sure footed, confident and transparent. Open and clean, like the amp, this is very easy to like. Easy to live with and handsome looking, a little bling maybe, but handsome none the less.

I could live with this for years to come and not feel the itch, I could take this to Bake-Offs confident that my peers will approve… I just got up to change CD, and I’m waiting for it to load and it took a bit long.  Stevie Ray Vaughan and Albert King.. quicker please, the slight KT88 hum of the Beard amp is not nearly as sweet as the music.

The sound-stage is nice and open, my speakers and amp give loads of this anyway, so it’s hard to measure the CD player’s contribution, however it’s certainly not holding anything back. Albert King is on the left, Stevie on the right and the Hammond organ behind Albert.. Drums roll across the stage and the guitars sing high. Happy again… it’s all so musical. As a set up I really don’t need any more and it’s possibly as good a sound I’ve ever had in this room, from these speakers.

This is another thumbs up for Sonneteer. I have to be honest, had I seen the kit in a show room I would have admired its looks and moved on, with the phrase “style over substance” in mind. I am very glad to have my preconceptions blown away – you can have good looking kit that also sounds good at this price point. Oh and the words “Made in England” are somewhat satisfying too!

There’s a remote control. A display, and standard set of outputs. The meagre features are not why you will buy one of these when you hear it. It’s because you will be sure that every penny has gone into the sound quality.

I never did get to those technical details did I? Well, I could copy and paste them here, or you can just click here for the full pdf.

Audition soon, call Paul or Sam at Purite North

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Audio Glu Music Server Review

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Why?

My PC has a 1TB hard drive and a large library of music ripped onto it. Probably >800 CD’s ripped so far. Not as many as some I’m sure, but still it’s a fair amount of FLAC. An ideal music server then for my Squeeze box and DAC? Well, yes and no. If we’ve recently vacuumed the fans it’s not bad, there is enough of a divide between the Dining room (which houses my PC) and the Living room (which houses my HiFi) that the PC is all but inaudible unless listening to Radio 3, which, as far as I’ve ever been able to tell broadcasts mainly silence. Don’t get me wrong, I like Radio 3, especially when the kids are being noisy as I can turn Radio 3 right up and let the silence drown out their noise.  I’ll leave you to ponder that.. Back on topic, the problem arises when the fan gets dusty and the PC is busy, it sounds like the old Dover to Calais hover craft at full speed. The subtleties of the latest Teleportation Tweak from Machina Dynamica can be somewhat lost against the back ground noise from the fans spinning like the Enola Gay preparing for take off in my dining room.

Functionality

I have long been looking for a quieter alternative.  This is the first device I’ve had a chance to try as a potential solution and I have had a largely positive experience with it so far. The Audio Glu (I really don’t like the name and don’t understand it) has no fan. It makes no

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noise at all. What it does have is either a 1tb or 2tb hard drive, supports UPnP, and connects to a DAC  via USB or S/PDIF optical. USB DACs are automatically configured when connected. My Cambridge DAC magic locked on straight away and never skipped a beat.

You simply feed it CD’s through the front loading car audio style slot and it rips, checks, downloads tags and album art and converts to FLAC in about 5 minutes. It then ejects the CD automatically. You can also drag your files across to the Audio Glu’s shared network storage. And if you plug a USB hard drive of suitable size into one of the front USB ports, the Audio Glu automatically backs itself up to the drive. They really have thought of everything. It’s all so simple. It will work with a variety of tablet and mobile controllers such as MPaD, MPoD, MPDroid, Kinsky, Sonos etc.

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Controller

I found the MPod app for Android hugely pinikity and lacking in functionality. No “Play Album” option seems crazy. Android has by far the Lion’s share of the mobile and tablet market, yet the app seemed to be something of an after thought compared to the Apple version. Out of frustration I loaded it onto my daughters’ iPod  and that works very nicely indeed. The layout is simple and intuitive and you can see where the developer’s loyalties lie in terms of favoured OS. If I decide to buy the Audio Glu as my server, I will have to factor in the cost of an iPad mini to drive it with I feel.  Although expensive for a remote, the software is so nice it might just be worth it. Apple owners will of course have no extra costs.

Set up

So how much pain is it to configure? I did wonder how idiot proof this Linux box would be. The procedure went as follows:

Plug it into the wall.

Plug it into DAC.

Plug it into router (no Wi-Fi on this model).

Rip or copy music to it. (See above)

Install suitable app on phone.. give up on clunky half arsed app, steal daughters iPad/iPod install app on that.

Then, it just works. Totally painless and almost entirely idiot proof. Brilliant! Totally brilliant.

Summing up

mpad-tracklistFrustrated as I was with the Android app, I have to say I am still rather tempted by this. At around £900.00 for the 1TB version, plus an iPAd and a UPS (you don’t want this to lose power in a power cut really), it’s still a sensibly priced device. There were never any issues with sound quality, it delivers a bit perfect stream in total silence, it rips quickly (unless the CD is damaged) and has no real negative features that I could discover.

I would recommend it highly to anyone looking for some really simple network storage, bear in mind you can access it from any PC or MAC to play files from too, not just for your DAC.  It’s very good and I may well go for this as the solution to my own noisy PC problem.

Contact Ian and AudioGlu for more information: www.audioglu.com

Discuss the review here

Jolida Glass FX Tube Dac III

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After finally getting around to ripping my CD collection it seems that 2013 has been the year that I started to seriously look at some standalone DAC options and try and see what separates one from another. I mean its all digital so surely a DAC is a DAC and they all sound pretty much the same? Well no actually.

I have had half a dozen different products here over the last 12 months ranging from the surprisingly competent budget priced Musical Fidelity V90 at £200 through to the £2k Eximus DP1 but one stuck firmly in my mind though and that was the Jolida Glass FX Tube Dac II (reviewed here by our own hifiwigwam back in April) What I loved about the Jolida was its warmth and tonal richness. It was a DAC even a hardened vinyl lover could embrace. At the time I really needed a DAC with a preamp section so the Jolida reluctantly made its exit from my system but even the highly resolving Eximus at four times the price couldn’t stop me craving the tonality of the Jolida.

So now I have another Glass FX here for review in its Mk 3 guise. So what has changed? Well both DACs are based around a Burr-Brown PCM1798 chipset.  Visually the Mk 3 retains the same sturdy but attractive metal casing (available in black or silver) and glass top plate along with its 2 visible 12AX7 valves however this time a volume control and a 3.5mm headphone socket have been added.

The input selection consists of 1 x S/PDIF, 1 x Toslink and 1 x USB.  The Toslink and Coax inputs both support 24/192Hz while the USB is limited to 24/96Hz. USB is selected by default on power up and inputs are selected using the front panel push button selector.

The DAC was supplied to me by Robert at Aired Audio the official UK Importers for Jolida. Robert advised me that he now only imports the Mk3 with an output capacitors upgrade. In standard form both the Mk2 and Mk3 have ClarityCap SA output capacitors but here the Mk3’s  performance is improved with the use of ClarityCap ESA output caps.

When I first fired up the Mk3 it wasn’t sounding as much like its predecessor as I expected. It felt leaner, more focused, more ‘Daclike’. I left it on for a day or two with the stock TungSol 12AX7valves in place. Robert also included a pair of US made 12AD7s which seemed to be an improvement but nothing night and day. Obviously one of the attractions of a tube dac is having the chance to experiment with different options a see what takes your fancy.

With so many DACs at this price point I feel I get better results using an SPDIF converter rather than running direct to the USB input. In this case I used a TeraLink-X. These can easily be picked up from eBay for around £30. So down to listening and as with the Mk2 I found everything had a wonderful fluid feel. There is definitely no top end harshness or glare here. Bass is excellent and vocals and acoustic instruments have an authentic natural presence. I have changed amplification since I had the Mk2 but I’m convinced that the resolution has improved with the Mk3.

I am not normally someone who listens on headphones and upon arrival of the Jolida I didn’t even own a decent pair. However I have just treated myself to a pair of AKG K550s. With the AKGs being brand new I know they will need some running in so I don’t feel I can comment overly on the performance in this area but what was apparent is that the Jolida has plenty of gain available so I imagine it will suit a wide variety of headphone options.

I found the volume control particularly useful and is a definite bonus if you have your DAC situated away from your main system close to your listening position or laptop/streamer.  In addition you are now have the option to run the analogue outputs from the Jolida directly into a power amplifier.

In conclusion: I recently had some fellow wammers round and we had a run through half a dozen DACs and I’m glad to say but also not surprised that the Jolida was very well received. I’ve been living with the Glass FX for around a month now and it’s been a joy to listen to. There is an excellent balance between resolution and musicality which will make it a strong contender to many. It’s the kind of DAC you can easily take for granted, music is reproduced with a certain finesse that stops you thinking about 0s and 1s and just lets the music flow and that is exactly what I want from a DAC.

If you feel the same way I would urge you to give the Jolida an audition. At £540 RRP it’s a bit of a steal.

For further information and sales contact Robert at www.airedaudio.co.uk

Associated review equipment:

Acer Laptop running Windows 7 / Jriver software / FLAC

Modwright LS100 Preamp plus Modwright KWA100SE Power amp.

Discuss the review here

 

 

Antelope Audio Zodiac Platinum DSD DAC/Headphone Amp Review

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If the Top Trumps company were looking for a new subject for their immortal card based shenanigans, they could do worse than look at DACs. Not only are there enough of them to make a satisfying pack of cards (several in fact) but there is a relentless sense of one-upmanship in terms of specification that would keep the most competitive schoolboy engrossed. USB in particular is a particularly fruitful area. In five years we’ve gone from jittery ole USB 1 with a 48kHz sampling rate to the technical marvel you see here. 192kHz? Old hat. This bad boy handles formats that barely exist making it a potential Star Trump.

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Antelope Audio has been one of the companies pushing this technology forward since their arrival in the market a few years ago. Although they have never stinted on the traditional DAC inputs, the focus of their technology has been focused on USB and the attendant handling of the high res material available from it. The company sailed through the 192kHz barrier (if you like, the point where the actual availability of material to play drops from limited to very limited) some time ago but felt no urge to stop at that point. The 352/384 increment was dutifully added and the company moved on to the high resolution unicorn that is DSD. The Zodiac Platinum DAC you see here can decode DSD 64 and 128 and further upsample them to DSD256. This is a huge amount of technical firepower but does it translate to something that is actually any good?

The Platinum is the top of the Zodiac range and builds on the features of the lesser models while adding the DSD upsampling technology. To this end you get an almost cube shaped DAC with a volume control for use as a preamp into RCA and XLR outputs. As well as the all important USB connection, Antelope fits the Zodiac with an AES input and a pair of optical and coaxial inputs that share inputs one and two and auto detect to select. For those of you of a vinyl disposition drifting into a torpor, the Antelope is interesting in that it also supports an analogue input that would technically allow for a turntable or other cherished source to be connected directly and allow the Platinum to usurp your preamp as well. Additionally, twin quarter inch headphone sockets allow the Platinum to act as his ‘n’ hers headphone amp if you fancy.

This gives a clue to the fact that Antelope doesn’t carry out volume adjustment in the digital domain. The volume control is a rotary encoder rather than a conventional pot but still affects the decoded output rather than trying to do anything clever with the signal prior to decoding. This is arguably better in the context of audio quality but vastly superior in terms of day to day use because the volume control demonstrates a usefully swift response and won’t slowly chug up and down when you really need it to go like the clappers.

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Internally, the Antelope makes use of two Texas Instruments DAC’s that themselves feature two tracks per chip, one per channel for decoding. These don’t handle the upsampling process however as the Antelope has a separate FPGA system to handle this part of the processing. The USB architecture is bespoke and so is the clock- which also the first time I’ve seen the phrase ‘Oven controlled’ outside of culinary practices. If this toasty clock inside the unit isn’t enough for you, the Platinum will also support being connected to Antelope’s external Rubidium clock if you feel that your digital just won’t fly without an isotope or two involved.

What the Platinum doesn’t feature internally is a power supply. All the Zodiac range make use of external PSU’s but in the case of the lesser Zodiac’s, this is a mains block type affair but the Platinum is supplied as standard with the Voltikus external power supply. As well as sounding like the mortal foe of Optimus Prime, the Voltikus has been specifically designed to work with the Zodiacs and does offer the decidedly handy operating voltage range of 90-250 volts which is handy for the more nomadic among you. The Voltikus feels impressively substantial- it weighs more than the DAC does and it is utterly silent both externally and in terms of the audible output of the Platinum with no signal.

This isn’t to say that the DAC itself doesn’t feel well finished because it too feels well bolted together and logically laid out. The chassis of both the DAC and PSU are black with only the front panels finished in silver but the overall impression is smart and while I imagine you can buy more substantial DACs for the asking price, the Antelope feels carefully assembled and unlikely to fall apart any time soon. The controls are well weighted and the white LED’s and display are clear, easy to read and make a welcome change from blue.

In terms of being a real world useable preamp, the Zodiac scores well thanks to the responsive volume control already mentioned and additionally thanks to the inclusion of a (rather smart) remote control. This all metal affair controls standby, input selection, volume and muting and aside from the metal buttons rattling slightly in their housings, the overall impression is very pleasing. Antelope also supplies a USB and toslink cable and the umbilical required to connect the DAC to the PSU and the USB in particular is usefully long enough to be used in the real world.

As you might expect, the Antelope can’t perform its impressive feats of upsampling with a standard Windows or Mac driver and Antelope provides a bespoke one on their website (as well as one for Linux). This downloaded without a hitch to a Windows 7 machine and once installed also didn’t appear to screw any other USB functionality up- always welcome but not universally guaranteed. Not required for playback but also handy to have is the control panel software that replicates the front panel controls of the Platinum. This is a nice touch if not as vital as it might be if Antelope hadn’t supplied the remote.

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USB testing of the Antelope was carried out with a Lenovo T530 ThinkPad running Windows 7 and Foobar as my playback software. The choice of Foobar stems from it being fairly logical in what it does and also having the ability (after a superhuman amount of faffing) to play DSD files. I also used the Naim ND5XS/XP5 XS combo that resides in my listening room full time to test the coaxial inputs. Partnering equipment was mainly the Naim SUPERNAIT 2 that also resides in the listening room full time. Instead of my usual Neat Momentums which are currently under a big pile of other things, I used a pair of Morel Octave 6 standmounts. I also tested the preamp functionality into the fixed input of a Cambridge Audio 851A.

The Antelope had already been run before it arrived with me but I left it to run for a bit before sitting down to listen. First things first, as the preamp of the Zodiac appears to be active all the time, it is important not to run it at maximum which appears to run the output voltage rather higher than line level. This left the Antelope inducing a little distortion on high notes and sounding a little rough. Winding it back to -15 on the dial massively improved matters and this was the setting I chose for the rest of listening.

Before I went anywhere near high res or DSD, I started with some bog standard 16/44.1 FLAC and settled back. From the off, the Antelope showed some very positive attributes. I suspect that when the Platinum goes somewhere to be rigorously measured, it will turn in some superb measurements and this means that the performance is not demonstrative in the way that something which is overtly monkeying around with the frequency response. What you get instead is a wonderful demonstration of how good a well sorted and well-engineered piece of digital can be.

With something well recorded but by no means immaculate like Fink’s Distance and Time the Antelope is open, expansive and extremely assured about how it goes about presenting Greenhall in relation to supporting instruments. There is a three dimensionality to the presentation that is isn’t overblown but still exceeds what you might expect a piece of digital attached to a Naim amplifier to achieve. Depth and height from stereo might be tricks of the mind but the Zodiac has it sussed and this lends the performance an effortlessness that means it rarely becomes fatiguing or overblown.

This is further aided by consistently excellent tonality that is unfailingly believable. The Antelope shows more than a nod to the company’s studio background in that it won’t flatter really poorly mastered discs but it will do everything it can to keep things listenable. With anything half decent, the Antelope is a very well balanced blend of accuracy and engagement. Voices have a weight a texture to them which lends them a realism that can be lacking and instruments that live or die on the tonality like piano and cello manage to sound right.

Underpinning this is a bass response that is detailed, deep and filled with the same refinement that the upper registers have.  It has enough urgency to be fun as well. A spirited rendition of Their Law by The Prodigy has enough drive and attack to sound thoroughly entertaining and the Antelope is able to hammer through dance and more aggressive electronica with an assurance that is more than simply an accurate piece of studio gear going through the motions.

Moving to high resolution material in FLAC and WAV, the Antelope is excellent unsurprisingly enough. The same basic performance attributes that work well with lossless material are also applicable here with the general advantage that the excellent mastering of most high resolution material further plays to the strengths of the Antelope. Nothing I played at increments of 24/44.1, 88.2, 96, 176.4 and 192kHz showed any signs of issue and the Antelope is more than capable of presenting these recordings in the best possible light.

And DSD? Let me start by saying that playing DSD via Foobar at least is a task only marginally simpler than mastering zero point energy or surviving on photosynthesis. I actually went through the misery of setting my computer up for DSD testing with a product before the Antelope so most of the legwork had been done but nonetheless it remains a fiddly and fairly thankless task. And the payoff? The limited selection of DSD test material I have sounded great- better than Yamaha’s admittedly less expensive CD-S3000- but the material I have, I own on no other format so I can’t hand on heart say it is better that it would be in the comparatively ‘ordinary’ format of 24/192. I’ve never subscribed to DSD being intrinsically ‘magic’ and the Antelope doesn’t necessarily change this. It is staggeringly good with DSD but then again it is staggeringly good with WAV and FLAC too.

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Tests with the coaxial input taking a feed from the Naim streamer suggest that the other digital inputs are equally well sorted and tests with the Cambridge Audio 851A acting as a power amp suggests that the volume control is linear and has enough increments to allow fine adjustment throughout the volume range. The preamp functionality is good enough to make the Antelope viable to be used in this fashion and the remote makes it convenient too.

The Antelope is seriously impressive all things considered. I tend towards streamers for convenience but the Zodiac is sufficiently well sorted to be a viable competitor if the USB source was sufficiently well sorted. I’m a pessimist and I suspect that the bespoke DSD implementation may never be given the range of material that allows it to show what it can really do- although I’d be delighted if this turns out not to be the case. That being said, the Zodiac is good enough with lossless and more readily available high res material to be something worth seeking out. This is great digital and arguably one of the most future proof designs on sale today. For anyone looking to replace their preamp too, this could be a knockout.

Price as tested; £4,250

Contact; http://www.antelopeaudio.com

Discuss the review here.

 

McIntosh MCD550 Review… CD is Gratefully not dead!

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MCD550+Low+Angle+Left (1)_0Everyone has an opinion on McIntosh, certainly that’s the feeling I get when chatting to people at shows and reading the forums here. Most people comment on the styling, some comment on the price (it ain’t cheap guvnor!) but rarely do people mention the sound. Which is odd, given the provenance of the brand and the fact that Sound quality is what got us into HiFi the first place. This is probably a good sign, it’s never been over-hyped and never been slagged off.. one has to suspect it’s probably quite good then!

The provenance goes way back, most of us are aware that the Grateful Dead’s (you see what I did now) famous Wall of Sound was powered by 49 McIntosh amps generating a mind boggling 29,000 Watts of continuous power! Legend says this gave a clear sound at half a mile from it’s 600 odd JBL speakers. If one ventures into a McIntosh demo today the focus hasn’t changed much. Huge power, clear sound. Amps that grab speakers by the scruff of the neck and shake them like Geoff Capes applying Ketchup to a Hot Dog.

CD players are perhaps not the first thing people associate with the brand, but there is a long list of highly regarded spinners in the range and this new Multi format player is the latest offering. It’s a very adaptable device, with three digital inputs (I used it as a DAC as much as a CD player), including Coax, USB and Optical. It also sports two digital outputs, a balanced and single ended line level out and a balanced and single ended pair of adjustable outputs (yes, you can use it direct to a power amp). It decodes SACD’s and has an an eight-channel, 32-bit/192kHz PCM/DCD DAC, which is nice.

IMG_2552.CR2Styling is old school by any standards. I like it, in the same way I like American Muscle cars, they are brutish and purposeful, and made from pig iron, and they shout GRRRRRR like Jeremy Clarkson being a dick (only without the racism obviously). It’s Boy’s Own stuff and although I can clearly see why some folk dislike it I think it’s fun and thankfully the sound quality is somewhat more refined, to say the least..

 

BANG

Years ago at  a Heathrow show, McIntosh had a demo where they replayed a high quality recording of a Musket Shot to show off how dynamic their amps could be. If you think about it, it’s hard to imagine a more dynamic sound than a Musket being fired and the result was startlingly real with a truly visceral attack. How they managed it was beyond me, a CD player, some very powerful valve amps and their own speakers. It was impressive, but didn’t tell us much about how that translates into an ability to reproduce music. I feel I’m getting a little flavour of that here, the ability to start and stop that quickly means you get a very clean sound, with beautiful separation.

I’m listening to Little Dragon’s self titled first album as I type and this player is quite surprising, the sound doesn’t match the looks somehow. The subtlety with which it paints a musical picture is possibly it’s greatest strength, the sense of quality is palpable. There are no nasties, musical instruments sound more like musical instruments, the Piano intro on the opening track has more “pianoey” goodness than my old VRDS can ever dream of mustering. There’s a Tuba sound on track 7, which modulates beautifully behind the drums and bass guitar while her voice is so wonderfully presented, it never smears or interferes. You can pick an instrument and follow it through without it ever getting lost or ever over taking the rest of the sound. Her voice is more human than I am used to, everything is just more realistic, snare drums crack, rim shots thwack, bass notes are deep and textured while remaining tuneful. For all it’s subtlety it doesn’t lack in dynamics either, those rim shots really do thwack with more realism.. I will try to avoid any more cliche’s but it’s actually true. My wife almost came in from the Kitchen..

The sound stage is accurate and realistic too, although listening to Vangelis’ Blade Runner theme there are sounds pinging off walls and darting all over the place, which I am sure Mr Vangelis would approve of, I certainly do. Strings are wonderfully textured, but it’s the bass that has me most impressed. The tunefulness and control is not something I thought my speakers were capable of. I was genuinely considering a change of speakers until I heard this, I now know the issue lies elsewhere in the system..

Pre out

Things were slightly less successful when I used the adjustable output directly into my power amp. My Pre-amp is a valve amp, my power amp is solid state and the solid state squared effect is always less pleasing to my ears. Others clearly feel differently, each to their own, but for my money the dynamism was perhaps a touch forward for me. I would imagine Naim fans would approve wholeheartedly. I enjoyed it for the first few tracks of Dark Side of the Moon, but even that old favorite became a touch wearing. I know that some will be throwing things at their computers saying it’s because I don’t like true High fidelity sound, and that valves distort along with many other well trodden comments. The fact of the matter is, they are probably right. I just prefer a little softening of the edges, a like a drop of water in my single malt, sue me!

DAC

I did do some comparisons between the CD player and FLAC streamed by my SONOS, there are I think some small differences, but frankly I struggle to describe them. The CD player was just a touch cleaner, however differences were marginal, the McInstosh does a wonderful job of unpicking the Bits and was used as a DAC as much as a CD player while here. Late night sessions normally end up via the SONOS as I am basically too lazy to keep getting up to change things, and as the McIntosh still delivers when used as a DAC it seemed somewhat pointless to do so. I felt there were differences are there, but not enough that you feel you are really missing out. I am sure I couldn’t pick them in a blind test.

SACD

With the the pre-amp back in place it was back to DSOTM, I was using it as it’s one of the few SACD’s I have in my collection. There is an option on the remote to switch layers, and I was intrigued to do some back to back red-book v SACD listening. I can say now that it’s a terrible shame the SACD format didn’t really take off, the difference was very clear to me, there was a new level of information being retrieved from the SACD layer and the big Mac delivered it all with beautiful clarity.  I used to own a Copland CD/SACD player and the differences were far less obvious, I wonder if some of the failings of SACD could be put down to badly implemented players unable to show the format to it’s full potential. Certainly if I owned this spinner I would be scouring the second hand shops and Ebay for SACD discs.

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Headphone output is a nice touch.

Negatives?

The remote control is fully featured and lights up when you press the buttons, which is handy as there are so many of them. This is an appropriated TV remote, it even has the RGBY buttons across the middle and really it’s not that well implemented. Good features like input select are slightly fiddly and badly labelled, the pause button doesn’t work (I found that pressing play again pauses the disc). However it does feel good quality and the ability to control every feature is a bonus over so many cursory efforts one sees these days.

 

Summary

The build quality on the machine itself is bomb proof, sound quality is superb and slight niggles aside it is to me a true object of desire. For those able to stand the price tag  of £6395.00 it will give great pleasure for many many years.

McInstosh products are distributed by Jordan Acoustics, Many thanks to them for sending me this to try without any obligation to review. Give them a call to arrange a demo if you are lucky enough to be in this end of the market.

More tech specs and information can be found at http://www.jordanacoustics.co.uk/product_details.php?ref=2227

Pimp my Laptop! Chord’s Hugo does it’s thang.

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Chord Hugo2085_scrHugo! Sounds like a man in red chords and yellow socks to me, perhaps with a brightly coloured sweater over his shoulders and a pair of Wayfairers on his head. But hey, deck shoes and Tattinger are not what Chord Electronics’ Hugo is all about. No, this Hugo has more of a bling feel to it. It’s more Cheshire than home counties. Certainly the brightly coloured lights and brash styling are not really my cup of organic Darjeeling, but the way it performs in some areas has proved to be so, however only after a very shaky start.

Let me get a few things off my chest before I tell you what I do like about this little slice of Alderley Edge. The Hugo is many things: A headphone amp. A DAC and even a small digital pre-amp. All of these things are true. It also worked as a paper-weight on a warm but windy day. The only claim Chord makes for this device that I take issue with is the prefix “portable”.  It’s portable in as much as even a small child can carry it. It’s portable in that it would fit in a woman’s hand bag, or my laptop bag. But it’s not portable in a “slip it in my trouser pocket” kind of way.  It’s the size of two fag packets (remember them?) side-by-side, and as deep. And made of metal. So it’s hefty too. It comes with some pretty naff elastic bands which can be used to attach ones iPod or similar, I suppose Chord assume people will want to have this on the train with them.. I can’t see it myself. When traveling I want convenience, and I will make sacrifices for that convenience. Your mustard may vary of course, perhaps it’s important to you to have the finest sound quality on the 06:42 to Victoria, I’m just happy to get a seat.

So, I don’t like it then? Well hold your horses slick.. This little box has won me over, in one application more than any other it is absolutely superb. If like me you spend many hours sitting at home or in the office working at a lap-top or computer, listening to tunes as you go, then the Hugo really could brighten up your day. As I type I have JRiver feeding the Hugo with FLAC files full of lovely music (Lambchop, Damaged), and it sounds bloody superb through my Bowers and Wilkins P7′s. Really good indeed. I had it in the office last week, and this week has been tough, Spotify and 6Music really don’t sound any good through my built in sound card. I’d never really noticed, or cared much, it was background tunes while I worked, but with the Hugo in place it became oh so much more. I could immerse myself in the music and connect to it in a way I normally only get from my main HiFi system, so much so I found it hard to get any work done, I kept zoning out.. so Hugo had to come home. Playing a FLAC brings even better results, this laptop,the Hugo and my P7′s are a genuine alternative to my HiFi, especially of an evening when the neighbours and my family don’t want to hear Kurt Wagner’s dulcet tones.

This keeps happening..
WIN_20140722_220415Which is frustrating as I took an almost instant dislike to it when I opened the box. I like not liking things. Writing about how crap something is, is far more fun. I could compare it to an in-growing toenail if it was annoying, or Mussolini if it was truly hateful. But it’s annoyances are mild. Like.. oh.. that annoying thing your wife does, that you can’t really mention because you know you do things just as annoying.. Oh dear, I can’t win.

Anyway, those grievances:  For a start, none of the inputs and outputs are labelled. There are buttons (horrid little recessed plastic nipples) with no markings. And there’s a glass window with some lights inside, but none of them are marked either. So to set this up or change any of the many settings one must constantly refer to the manual. Which is a bloody stupid idea, especially as it’s possible (admittedly with some effort) to mis-configure it and damn near deafen yourself. No, the Hugo isn’t the answer to all your prayers.. hang on.. PJ Harvey’s Good Fortune just kicked in.. love this track.. dammit, Hugo keeps winning me over.

It didn’t win me over when used as a DAC in my main Hi-fi though. There’s an edgy hardness to the sound that I don’t get when using it as a headphone amp. It’s as if they are trying to give too much detail and pace, I found the sound somewhat tiring and was not inclined to do a lot of listening or comparison making, I just didn’t like it enough. My findings on this were totally at odds to a good 60% of forum members here that have heard it. Having changed speakers (half way through writing this review I went from Meadowlarks to Living Voice OBX-R2)  I decided to whack it into service again.. But no, it is a bit harsh, there’s a sibilance too that jars somewhat. Fantastic detail, great dynamism.. but it’s all a bit OTT for my tastes.

Back to the Cans, this laptop has something called “Beats audio” in it. As an audiophile I am going to pretend I’ve never heard of Beats and simply tell you the Chord Hugo hoses all over the built in sound-card from a significant height, let’s say about 50,000 feet. Higher than Dr Dre’s (whoever he is) private jet can fly that’s for sure. The sound quality is very even handed, it’s got warmth in the mid-range which is rare in headphone systems, while delivering all the gnarly grain on Led Zep’s Gallow’s Pole. I just listened to Dire Straights Brother’s in arms in it’s entirety and my Wife was none the wiser. She couldn’t sneer at me and make little barbed comments about “Dad rock”, no one came in and asked me to turn it down, and all the while I was gifted every note, every nuance of Knopfler’s guitar playing, every snap of the kick drum in a wonderfully rounded and High Fidelity delivery.  I can sit here all evening listening and really not feel I’m missing anything from not having the Hi-Fi on. I get a different sound, it’s a different experience, but no less fun or engaging for it.

51py233JiuL._SX425_Hugo does a great job with these new high-res formats too. I’m listening to Da Falla Brujo-Danza Rituel del fuego – Katona Twins on a DSD sampler I downloaded recently, and this is a cut above again. In fact that does it a dis-service, it’s more than a cut above, this is a level of performance I didn’t think possible from a laptop and some cans. Sadly the lack of good music on these formats means listening was somewhat limited. I truly hope there is a demand for this format which will see libraries swelling soon!

So yes, Chord Hugo, you might just fall in love with bloody thing despite yourself. Me? I’m thinking of ways to justify buying one so I can listen to tunes while I work at home without disturbing the rest of the house. The danger of course is that I may become a stranger in my own home, a highly visible recluse. they’ll call me the blob and my eyes will pixelate..  C’est la vie, the music sounds good, so what the heck?

Chord sent a whole blurb on all the clever tech under the hood. I feel I’ve droned on enough right now, having read the blurb I am surprised I didn’t get on with it quite as well when deployed as a DAC in my system. Anyway, I’ve included the blurb on the forum post here..Enjoy!

Oh and it’s £1300.00, which is a lot for a sound card for my lap-top… yet I still quite fancy one.

Forum discussion and blurb here

 

Modwright Elyse DAC Review

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For a company that started out nearly fifteen years ago providing modifications to digital equipment, Modwright’s first standalone DAC has had a long gestation. Still if something’s worth doing, it’s worth doing well.  And in that time Dan and the team have undoubtedly spent many hours honing their skills in creating output stages and power supplies of uncommon quality to go into the finished product.

The Elyse sits inside Modwright’s customary full width chassis, sharing the same design parameters as the amps and upcoming phono stage, therefore build quality is chunky and purposeful.  Modern DACs need a slew of inputs to compete in today’s market and the Elyse runs USB (192k, async), RCA, BNC and AES/EBU. I did all my listening using the Modwright Transporter as a transport using an RCA digital cable.

The Elyse also features balanced outputs, as well as single ended.  Controls on the front panel include a mute, phase inversion and a display off which defeats that blue-coloured panel design and the DAC input frequency status LEDs.

Modwright’s DAC is expensive but they have spent money where it counts.  The internals are packed full of audiophile goodies.  Power supplies are separately regulated for digital and analogue stages with valve rectification.  Analogue circuits feature Lundahl output transformers and no caps in the signal path which is based around the 6922 tube.  Modwright encourage tube rolling to your own taste.

Listening to this DAC was an absolute pleasure.  Sonically the Elyse fulfils all the modern high end criteria of transparency, resolution and fine detail.  The Elyse showed its class in the upper mids and treble which are incisive, but completely unfatiguing. Compared to budget DACs that give the impression of being hyper-detailed but grow annoyingly tiresome, the Elyse midrange was akin to refreshing walk in an Alpine meadow compared to a battling through bitter February gale in Nottingham.

I constantly wanted to delve further into those upper mids from the Elyse and I never heard the Kaplan’s version of Mahler’s second symphony sound better.  Instrument placement in the soundstage was top notch and the tension of the opening bars to the tender emotion of the alto solos was all rendered beautifully.  At contrasting ends of the frequency range, cymbals and timpani were exquisitely natural.  Jumping forward a hundred years or so and across the musical spectrum a to Fever Ray, SBTRKT, and Sinead O’Connor the Elyse resolved bass lines brilliantly, although I never felt them become overwhelming or artificially spot lit.

Sometimes at this price/performance level you are looking for one outstanding sonic attribute, one party piece to justify the price tag, but the Elyse performed so strongly across so many musical types that the only danger would be to overlook it for being roundly excellent!

There are sonic similarities with the Modwright modified Transporter that I own, but now that Dan Wright has had the opportunity to design and build his own digital product from scratch I think the house sound of the Elyse has more in common with his own integrated and pre-power amplifier efforts. There is that sense of massive reserves of clean, powerful output but Modwright manages the trick of eschewing the soulless quality of certain American high-end brands that have been trading on their name for years.

Buyers at this price will undoubtedly have an extensive audition list, but make sure the Elyse is on it.

£5,495. Available from Modwright’s UK Distributor – BD Audio.

DAC: Burr Brown PCM1794.

Tube Rolling: Rectifier: 5AR4/5R4GYS/5U4G/5U4GB/5V4G/5V4GB/217.  Driver tubes: 6922/6DJ8/7308

Discuss the review here

Chord Mojo DAC/Headphone amp review

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Whether we like it or not, the shape of audio equipment is slowly but inexorably starting to change. Freed from the need to accommodate physical media and with the analogue preamp being challenged by the adjustment of volume in the digital domain, the roles and functions of each box are far less set in stone than they once were.

Few products embodied these changes better than the Chord Hugo. As Chord Electronics had made the move away from ‘normal’ form factors for many of their products, the progression to make a small combined DAC and preamp that worked as happily on battery power as it did on mains was smaller for them they for many other manufacturers. As a product, the Hugo divides opinion. I find it excellent as both a headphone DAC and partnered carefully, it is a tremendous preamp too. What is also interesting is that when my Wife’s singing pupils encounter it, as a concept, it makes perfect sense to them in a way that those of us who have spent more time with physical media and boxes that are 430mm wide can struggle with. Their only real gripes with the Hugo are far as they are concerned are that it costs £1,400 and really it is a bit big to be considered truly portable.

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As it turns out, Chord had some of the same thoughts too. Even before the Hugo had been launched, the company had been looking at making a smaller and more portable Hugo. Chord boss John Franks had in mind something the size of a cigarette pack but he also had in mind that this ‘mini Hugo’ would be able to match the Hugo for performance and cost £400. As you can’t tell company bosses to go away and stop asking the impossible, the result of this request is the Mojo (an amalgam of ‘Mobile Joy’).

Getting to this point hasn’t been plain sailing. Like Hugo, the Mojo makes use of a Field Gate Programmable Array (FPGA) chip that makes use of Chord’s bespoke software to perform filtering, decoding and volume control. The Hugo’s FPGA is fairly energy efficient but the heat dissipation requires a Hugo sized chassis to work. The Mojo is built around a new FPGA that reduces heat build-up and this in turn allows for a smaller board that is able to handle the battery being laid across the top to further shrink the size of the unit. Until this became available, the Mojo simply couldn’t exist.

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As a result of being able to use this chip and software, the Mojo supports the same extremely comprehensive decoding range as the Hugo. PCM is supported between 32 and 768kHz and DSD up to DSD512 (and if you have anything in DSD 512, do get in touch) which means that the Mojo is comfortably state of the art in this regard. Equally impressive is that this USB requires a driver to function with Windows but otherwise is completely driverless when used with Macs and via OTG cables into Android and iOS devices.

As well as USB, the Mojo supports optical connections via a conventional Toslink connection and a coaxial one fitted with a 3.5mm connection. These inputs are then made available to a pair of 3.5mm headphone sockets. These are not dual mono so are more about allowing for two listeners at once. Like the Hugo, these connections can both swing half an amp of power so should be able to handle even some fairly demanding loads attached to them. Where Mojo differs from Hugo is that with the recognition that this more portable device is more likely to be used with highly sensitive in ear monitors, efforts have been made to reduce the Hugo’s already very low noisefloor. This is quite an achievement in that unlike a number of rivals, the Mojo has no gain switch and instead makes use of the same volume ramp regardless of what you connect to it.

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Of course, in saving £1,000 off the list price, some features of the Hugo have fallen by the wayside. You don’t get an RCA output or the quarter inch headphone socket of the Hugo and the bluetooth functionality has also been removed. This last feature is something of a double edged sword. As it is made of metal and has no aerial, the bluetooth range of the Hugo is pretty woeful and it cuts out with annoying frequency but equally, used within the defined limitations, it is a very handy convenience feature. There is some evidence that the bluetooth connection is going to be added via an optional add on in the future.

Externally, the Mojo is a clever piece of equipment. If you hold it in your hand with an understanding of the history of Chord Electronics, it feels like something from the company. It does this while at the same time managing to avoid some of the general weirdness of the Hugo. The inputs and outputs are all labelled (something that Chord has been curiously reluctant to do in the past and the input switching is done by voltage detection on the inputs (and Chord goes on to explain the priority on which this will work). If you are using the Mojo as your first piece of Chord Equipment, it won’t scare the horses.

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At the same time, the Mojo is not totally free of idiosyncrasy. Chord has employed the system that the Hugo uses to show incoming sample rate and volume which is a variable coloured LED system. This is something that you get used to and once you know your colour shift, you can work out what the Mojo is doing at a glance but it lacks the immediate obviousness of a bog standard display. Additionally, Chord has fitted the Mojo with buttons that are in fact plastic spheres that rotate freely in their housings and attract fingerprints like nothing else I’ve ever seen. As a final curiosity, the Mojo has two USB connections, one for signal and one for charging which presumably pertains to the use of the FPGA which doesn’t easily allow voltage to be passed through it. Battery life on the other hand is good. The Mojo allows for a ten hour battery life from a four hour charge which is competitive with the competition but  the Mojo can’t act as an emergency charger for your phone.

The Mojo has mainly been tested with my Lenovo T530 ThinkPad running jRiver and Tidal but has additionally been tested with an LG/Google Nexus 5 and OTG cable running the Hiby Music ap and Tidal. Various headphones and earphones including the Noble 6, Oppo PM-3 and Shure SE-315 have been used with it. Material including lossless and high res FLAC, AIFF and compressed Ogg Vorbis files have been used.

Chord doesn’t go in for modesty when it comes to their digital products. They regard the use of DAC chips as a painting by numbers exercise that shouldn’t result in the prices that some products apparently cost. Against this is the more real world observation that for all their technical firepower, Chord products don’t always earn the accolades that might be expected of a process that is supposedly superior. The review of the Hugo on this very site saw James delighted with how it performed as a headphone amp but less convinced by how it worked as a normal DAC. As such, Chord’s claim that the Mojo stands comparison with almost any DAC on the market needs to be taken with a pinch of salt.

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At the same time, having spent some time with the Mojo, there is little doubt in my mind that at £400, this is a seriously accomplished bit of decoding. What the Mojo brings to your music is absolute transparency to the extent where ascribing characteristics to it is hard to the point of impossible. If that doesn’t sound terribly exciting, think about that for a second. Play Get your fight on by The Prodigy and the Mojo is a fast, punchy and thoroughly exciting partner. The very next track can be Nick Drake’s Parasite and instantly all trace of the attack and bit is gone and instead there is a sweetness and composure to the Chord that allows Drake’s calm vocals and guitar to shine. The Chord is a window to the music, nothing more, nothing less.

If you are happy with the sound of your headphones or earphones, the Mojo is a means of sending an objectively perfect signal to them. The volume ramp is completely transparent and it changes levels completely imperceptibly. With the superbly capable Noble 6 Earphone, the Mojo is absolutely brilliant. The Noble is very slightly forward in presentation. The top end is still refined enough to be listenable for long periods but there is a drive, punch and liveliness that has made them a favourite here. The Chord simply gets out of the way and lets them do their thing.

The other immediately impressive aspect of the performance is that the noise floor is to all intents and purposes non existent. Given that the Chord uses a single volume ramp rather than a low gain setting, this is quite an achievement. I had never considered that the Hugo was anything else than a superb partner for in ear monitors but some time spent with the two back to back does suggest that the Mojo has the edge on its big brother.

If you don’t want a slightly ballistic edge to the performance, you don’t have to have one. With the more refined and considered Oppo PM-3 headphone, the Chord is able to deliver the slightly higher levels of current that they need to shine and the performance shifts to the strengths of the PM-3- superb midrange lucidity and almost liquid smooth upper registers. This does mean that if you are trying to alter the performance of a pair of headphones or earphones that you aren’t completely happy with, this is not the device for you. All that will happen is you more starkly hear what you don’t like about them.

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So does this really mean that the £400 Mojo renders its big brother obsolete? Not quite. The voltages might be the same with both devices but if your headphones make use of a quarter inch jack, the full size connector on the Hugo seems to work slightly better. So it turns out with the line level output. The Hugo has no fixed level- you simply adjust the volume to suit. You can select a line level with the Mojo though by pressing both volume buttons at once. Via a 3.5mm to RCA phono cable into a Naim Supernait 2, there is a sense that this fixed output is fractionally too high. If you want something to use on the move and at home, Hugo edges Mojo although quite whether the difference is £1,000 worth is something you’d have to decide for yourself.

These quibbles should not detract from one of the best bits of digital I’ve encountered under £1,000 and a superb portable headphone amp. The Mojo can take any Android phone and imbue it with performance that should leave dedicated DAPs at almost any price rather worried- especially as some of these phones now support SDXC storage systems giving them potentially huge memory capacity. At the moment many high end brands- across categories well beyond audio- are trying to find ways of bringing customers into their fold with lower priced products that don’t compromise the brand’s key qualities. What you see here is one of the most ambitious but brilliant ways to do that yet to hit the market. Chord is tapping into a new generation of listeners who are at ease with their audio equipment looking and behaving differently and the Mojo is going to be a truly exceptional introduction to the brand for many people.

Price; £400
Contact; Chord Electronics

http://www.chordelectronics.co.uk/

01622 721444


Nu Force Primo 8, high end in-ear speaker system..

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An in ear speaker system, what kind of bunkham is this? It sounds like the marketing department have had their way. In the same way one might call a haircut a “head re-shaping”. But no, it turns out there really is a set of drivers in these  ear buds. 8 to be precise, covering different frequency ran ges… you know, like a speaker system..

Incredulity and scepticism duly parked, I pulled the wrapper off the surprisingly heavy box and fought my way inside. Nu-Force have spared no expense with the packaging here, you do get a real pride of ownership experience as you fight your way in. The glossy documents, the way the different size ear pieces are mounted on a little plinth rather than shoved in a little plastic bag for you to burst open and spill half of them under a cupboard. The supplied leather pouch and cleaning cloth all add up to a feeling that your money (£300) has gone on something made with care and some love.

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The ear buds themselves have a beetle blue shiny sort of clam shell covering, my daughter said they should have called them Ear Bugs, which I thought was an excellent description. They come with an optional set of memory foam covers, which you roll them between your fingers and screw into the ear in the same way you would fit health and safety ear plugs. This keeps out almost all external noise and provided by far the most comfortable fit for my ears. The cables then loop over the back of your ear and don’t feel like they will move around on a run or trip to the gym. Yes, I go to the gym.. no, you shut up!

I have the UDAC here to (more of which under separate cover), so I plugged that into my laptop, ran JRiver,  screwed the ear bugs into me lug ‘oles and pressed play on some old favourites..

The first thing I notice listening to them is an eerie sense of space. They put me in mind of a pair of big, expensive open back Sennheisers like the  HD800′s (no they are not that good, but they are in that area presentation wise). You get an expansive open sound that goes totally against expectation from an ear bud. I use ear buds mainly on trains, planes and yes in the gym (stop laughing) and I’ve never heard a pair do this. The usual directness isn’t there. I’m going to put this down to the multiple drivers sitting back in the Ear Bug creating space and air and a sound-stage. Tonally they are very nice; nice for me means fairly neutral and accurate with a very slight warmth to the mid bass. The blurb likes to go on about their smoothness, and I would say that’s a fair boast. There’s not an ounce of the usual ear bud glare or sibilance one comes to expect. My Klipsch ear buds do a lot of  good things, but they have a very direct sound and can glare from time-to-time. I still recommend Klipsch ear buds, they are excellent, but these are a different animal all together. My Klipsch are an Escort RS Mexico, the Nu Force are an S Class Mercedes. You know where all that money went: refinement.
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If they have weaknesses it’s when things get super-busy.. the introduction to Readiohead’s Bodysnatchers is a mixture of lead guitar with the gain up to 11, an E string bass-line and some high hat and rim shot drumming.. It’s tough for any hifi and seems to stretch the abilities of this little set up to it’s limit. The bass notes are a little lost, while the lead guitar has gone from grungy to dirty, It’s perhaps a lot to ask of an ear bud, but I was disappointed having been so impressed up to this point I thought they might achieve the near impossible.. further into the album though, and weird fishes is beautifully rendered. Warm, unctuous (imagine Nigella is saying this), yet with great clarity from Thom’s voice.. I listened to the rest of the album with great pleasure and stopped taking notes.

Would I pay the £300 asking price myself? Tough call. They are pretty sturdy and the cables are replaceable. For me I probably wouldn’t use them enough to extract that much value. If you sit on a train for a couple of hours a day, then these could well improve your life to the point where they are a bargain. Back in the days when I was on a few long-haul flights a year and flying around Europe almost weekly, I would have invested. They make an appreciable difference and while expensive, I think there is good value there for the regular user.

It’s now nearly two weeks since I wrote the above, and the ear buds have been in regular use. My attempts to get fit by next summer, so I can take my shirt off on the beach without anyone calling Greenpeace have meant extended gym sessions and longer walks at lunchtimes. This of course means more time with the Nu-force ear buds.. Until yesterday when I forgot to take them to work. I had to listen to my old Klipsch buds, which were on my desk. I really missed the Nu-Force smoothness, the sense of space.. At home now, Nick Drake’s guitar sounds wonderful. Nice kit this, missing them is a good sign..

Worth a look.

Contact http://www.optoma.co.uk/

Price as tested £299.00

Recommended: Highly.

A portable DAC for

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As some of you may remember, I reviewed the Chord Hugo about a year ago. This was my my first adventure with DSD files, and portable DACs. The idea seemed a little odd to me, but having now lived with the Hugo (on my desk at work, working as a headphone amp while I perform the more everyday tasks of my job) I really wouldn’t be without one. Especially as I can throw it in my lap top bag and enjoy it’s benefits while stuck in the Premier Inn on the East-Lancs road.

The Hugo, however, is an expensive treat. And infrequent users would struggle to justify the cost.. So what is available at the entry level, and is it worthwhile?

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This offering from Nu Force is the third iteration of a now well established product, but entirely new to me.

Out of the box, my first thought was “is that it?” it’s absolutely tiny, no bigger than two boxes of matches.. not much bigger than one. This really is an ultra-portable DAC and yet manages to pack in a Coax out (to act as a SPDIF bridge) and analogue outputs at line level. There’s a mini USB socket and a small volume knob on the front. Power comes in via the USB.

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The DAC itself is a 24bit/96kHz converter with drivers available for your PC or MAC which will take your 24/192 AIFF or WAV files squeeze them into a PCM suitable for the uDAC. So the high-res claims are to be taken with something of a pinch of salt in terms of output. On the upside, you won’t need to re-rip to lower res to get the best out of the uDAC.

The DAC works extremely reliably in all sorts of applications, from simple plug and play with my lap top and PC to using it along side my FIO X3. It never caused me any technical problems. It just works. Such a rare thing in Computer audio I find, and not to be underestimated given the trouble some items have caused me in the past.

Sound quality was really rather good at this price point, and above. I listened to it back-to-back with the Chord Hugo, using my B&W P7 headphones and some Hi-Res Wavs I have here for such duties. Steely Dan’s Aja being the main source for this review. I think the comparison of a £1300.00 Chord Hugo and a £99.00 nu-force DAC maybe unfair to some, but it did highlight some real strengths of the uDAC , in that the uDAC was never that far behind.. It did make me question the £1200.00 price difference at times.

At it’s best the uDAC is a punchy and engaging listen, which doesn’t quite deliver the tonality in the bass that the Hugo delivers and doesn’t quite grab as much detail, but still makes a very worthwhile upgrade to a laptop or PC. The over-all sound is very enjoyable, on the peppy side of smooth, yet still refined. You do feel that this is a quality product which is an engaging listen and given it’s price and portability it felt like a massive bargain.

Where the Hugo wins (as it should in this unfair contest) is the over-all depth of detail and control it offers. You feel there is more power available to the drivers (there may well be) from the much bigger unit. However, turn the neat little volume knob up a touch on the uDAC and the differences become far less obvious. With a bit of grunt behind it, it really sings. The opening of Black Cow on Aja has real punch and presence, it set me off in a good mood. And while I felt the bass could have smoother I was extremely pleased. A nice sparkle in the upper range and honest tonality to the mids, which belies everything about it. When compared to plugging the cans directly into the laptop the difference was (cliché alert) night and day.

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Will I be selling the Hugo, buying a uDAC and enjoying the £1200 difference in another way? Maybe.. it’s certainly a thought I’ve entertained more than once during this review. It’s more portable, less fiddly, and the differences is SQ are small.. the law of diminishing returns has been highlighted well by the uDAC3. Well built, well thought out and very enjoyable to listen to. All up a cracking product.

If you listen to music at work or at home using cans directly into your PC or laptop, then you absolutely MUST buy the uDAC3. For £99.00 you get a big boost in sound quality. And if you are looking to downsize or just for something to have as a travel companion, then you can honestly look no further. At £100.00 it’s almost an impulse buy, and one you won’t regret!

There’s more blurb and tech info here http://www.optoma.co.uk/soundproduct/uDAC3 plus the opportunity yo buy online. If you do and you hate it, I’ll buy you a beer at Scalford! That’s how confident I am in this bargain.

Leema Libra DAC Review

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Companies that produce digital products very crudely break down into three categories. There are those that buy the chipset of their choice and implement it in an off the shelf configuration. Then there are those that take stock chipsets but alter the surrounding hardware- DSPs, filters etc- to augment and alter its operation. Finally there are companies that, for want of a better term, ‘freestyle’ their digital decoding using their own software on ‘blank slate’ devices like FPGAs. The last category is a rare one. Put simply, the performance of many off the shelf components is so good, you have to be very confident indeed of doing a better job.

One brand that has taken the plunge is Leema Acoustics. While some of their earlier products took the multi DAC route, more recent products are built around what Leema refers to as the ‘Quattro Infinity’ module. This is an FPGA based DAC that offers the promise of ‘future proofing’ (a term so elastic in meaning as to warrant those quote marks) thanks to then being completely swappable. The latest product to feature this technology is the Libra DAC- a product that is both ambitious and- depending on how you look at it- not exactly a DAC.

This is because although it has plenty of digital inputs- and believe me, as we’ll cover in a bit, it has bloody loads of them- the Libra also has a healthy collection of analogue connections too and all of these have a volume control at their disposal. As such, the Libra makes a fairly strong case to be something a little different to rivals and if it genuinely does the things it is supposed to, it could be a very interesting piece of equipment indeed so without further ado, we need to plough through that considerable specification. Sitting comfortably? Then we’ll begin.

Leema-1

The Libra is the result of Leema’s own Lee Taylor and Mallory Nicholls going back to basics in the business of digital to analogue conversion and addressing the areas that they believe are most important to the process. To this end, the Quattro Infinity is intended to fully balance the signal the Libra handles at every point including the management of the digital stream. The Libra is equipped with two DACs that are on completely separate paths. The digital stream is then further processed to produce a plus phase and a minus phase which is passed through the two sides of each DAC chip so that any common noise is cancelled on reintegration .The Infinity bit refers to the channel separation of this arrangement being infinite.

The Quattro Infinity arrangement is extremely clever but is designed to handle LPCM. As you can’t sell digital products that don’t do DSD these days (even though the catalogue of DSD material remains pretty niche), an additional Cirrus Logic CS4392 DAC is attached to each channel to allow for DSD64 and 128 to be handled as well as DXD. Interestingly, the Libra also supports DSD over coax, although I’ve no idea what sort of device can send this sort of signal.

The most widely accepted means of getting DSD to a product of this nature will be USB and here Leema has used their M1 USB module for this purpose. They claim that this is the only fully galvanically isolated USB module in use in the audio category. This is intended to completely eliminate the risk of noise from a computer making into the DAC and onwards into the audio stream. The module works with Windows, OSX and Linux and the relevant software is on the company’s website.

Leema-5

 

This processing horsepower is made available to a serious collection of inputs. The Libra supports ten digital inputs; three optical, three coaxial, one USB, two AES and an I2S connection (which can configured for different pin wiring arrangements to maximise its usefulness). Additionally, the Libra also supports bluetooth as a useful convenience connection.

Where the Libra goes a bit off piste in DAC terms is that it additionally supports three analogue inputs- all of which have the option of connecting via XLR or RCA connections. These connections are not digitised and instead run parallel with the digital ones- and naturally, if you connect via XLR, they are also fully balanced. All connections can be output over XLR or RCA analogue connection and additionally, the Leema can be switched in to operate as a preamp. To do this, a 248 step volume control is fitted. This can be switched out of the circuit or indeed employed in full drunken protection mode to massively reduce the volume when the input is changed, presumably to prevent you from putting a drivers in space.

The final connection is a Leema specific one. Like almost all members of the Leema family, the Libra is equipped with connections for the company’s LIPS connection system. This is a control bus that links Leema products together in a cohesive and logical way. Up to fifteen products can be connected in this way and the system can also be used to get a Leema system talking to a home integration system.

As you might expect, with thirteen inputs to be handled, the Libra is a fairly hefty piece of equipment. The DAC uses the same chassis as the rest of the Constellation Series and this includes the visible heatsinks on the sides of the chassis which the Libra probably doesn’t need but does give it a sense of purpose. The matt finish front panel is smart and understated and the controls are well weighted and thought out. Equally weighty is the hefty, all metal remote that comes as standard and feels wonderfully solid in the hand as well as being a doddle to use. This is a fairly expensive bit of kit but the build, features and general design are all in keeping with rivals even before the performance of that custom decoding is tested.

Leema-6

What is slightly less brilliant is the display. This is a white on blue effort that shows a fair amount of information on what the Libra is up to at any one time and it can of course also be switched off. It doesn’t- for me at least- feel completely convincing at this price point though. In a world of high contrast OLED and the like, it just feels a little old fashioned. Of course, Leema has some very deep pro roots and this display is perfect in that regard- plenty of information logically (ish) laid out but it’s not exactly a work of aesthetic brilliance. This being said, the Libra is easy to get setup and configured. The display combined with the rotary jog dial is self explanatory to use and covers the extensive setup options well.

The Libra has largely been tested connected to a Naim Supernait 2 integrated amp and Neat Momentum 4i speakers. digital sources have included a Naim ND5XS streamer, Melco N1A NAS drive (via the USB connection) and a Sky HD box. Both the Libra and attendant equipment have been connected to an IsoTek Evo 3 Sigmas mains conditioner. Material used has included 16/44.1kHz FLAC and higher resolutions, DSD and Tidal have also been used as well as 2.0 LPCM from the Sky box.

There’s an acid test that I find myself putting all these state of the art digital products through almost on a subconscious level. Once everything is in and running as is should, I will cue up an album that I’ve been listening to for its musical worth rather than because it fulfils some reviewing requirement. What needs to happen with any product of this nature is that if I find myself listening to the equipment and not enjoying the album, all that processing horsepower isn’t doing its job. If all that cleverness is sufficiently distracting that you’re listening for that and not the music, the point has been missed somewhat.

Happily, the Libra does a very good job at not being the story. In fact, the Libra makes strong efforts to avoid being the centre of attention at all times. What the Libra does is avoid any of the obvious calling cards of some high end digital rivals. Above everything else, it keeps the recording sounding like it did when the studio signed off on it. Revisiting the early 90s curio that is Boss Drum by The Shamen, the Libra doesn’t interfere with the hastily recorded live version of Comin’ On (a track only included because the studio version wasn’t ready). It still has the curious slight echo to it and irregular balance to the relationship between vocals and instrumental.

Leema-2

If this doesn’t sound terribly appealing, at the same time, the Libra extracts detail and information from the piece that has largely eluded my attention in the twenty three years since I first heard it. The brilliant balancing act is that the Libra makes the best of any given recording without ever stepping over into drastically altering it or putting its own spin on things. Furthermore, the performance of the Libra is impressively forgiving for something with the decoding power that this DAC has.

Of course, if you stop messing around with early nineties dance albums and feed it something rather more intense- the 24/96kHz download of Blackstar for example, the Libra is simply superb. Once again, it decodes the material with the lightest of light touches and aside from the tremendous detail retrieval, it simply sounds natural, effortlessly balanced and decidedly real. There is very little I’ve listened to recently that manages to be so honest and at the same time so able to overlook the flaws in less well recorded material. Some tests with DSD material over USB doesn’t show any change in tonality or behaviour despite the involvement of those additional DACs.

Criticising the Libra for being so calmly self-effacing is a somewhat pointless exercise as this is clearly what Leema has intended to do with it. Compared to the Naim ND5XS, the Leema can seem a little relaxed with faster and more high impact material but when you listen to something that has no need of this propulsive force, the advantages of the Libra’s wonderfully open and honest presentation come to the fore. If you have a varied collection of material that spans different genres, tempos and styles, the Libra is the device you need to make it all sound good rather than the perfectly honed tool for a single job.

Leema-4

The other area where the Libra makes a strong case for itself is the consistency with which it performs across the inputs. I would not wish to gamble any of my own money on telling the difference on material played via USB directly from a Melco N1A and via the ND5XS (also using the Melco) via coax. If you do have a number of digital sources to collate, this is a truly well sorted means of doing so. A brief experiment with the Libra switched to preamp mode also suggests that it is effortlessly linear in gain terms and totally consistent in its characteristics at all volume levels. An equally quick check with a Cyrus Phono Signature phono stage connected via XLR into the analogue inputs leaves the characteristics of the Cyrus completely intact. All the Libra does in comparison to a direct connection to the Supernait is fractionally open out the soundstage of most recordings- an area where Naim has never really placed huge credence. The preamp functionality of the Libra is far from an afterthought and implemented with the same care as the decoding section.

In terms of its place in the market, the Libra is a slightly strange fish. It is far from unusual for a DAC to sport a volume control in 2016 but for it to have assumed the role of an analogue preamp at the same time is rather bolder. What is truly impressive is that the Libra has managed to balance all of this functionality with the effortlessness of the scales of its namesake. It simply delivers music with an honesty, accuracy and refinement that gives it tremendous all round ability. This is a specialised area of the market but the Libra does so much right, it deserves to be on anyone’s audition list for a DAC- or indeed a preamp at this price point.

Price; £5,995

Contact; Leema Acoustics

http://www.leema-acoustics.com/

 

SW1X Audio Design DAC 1 Signature – a Review by Kevin Fiske

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It is a rare thing indeed to witness the hatching of a new and enduring British high end audio brand. I hope, really hope, that this what we are seeing in the first flutterings of SW1X Audio Design of Coggeshall, Essex.

Founder Dr Slawa Roschkow’s debut commercial products are a non-oversampling DAC and a USB-S/PDIF interface, both designed and built in the UK. He has ambitions to bring further products to the SW1X line up including higher performance DACs, and open baffle speakers.

I have not examined or listened to the SW1X Audio Design USB-S/PDIF box, but have been loaned a DAC 1 Signature to play with. It is the most interesting and exciting new audio product that I have heard in quite a while. Designed and manufactured in Britain, and intended, Dr Roschkow says, to retail through a still-to-be-recruited dealer network at just a little north of £2,000, it is currently available direct for £1,000, or in ‘standard’ non-Signature guise, for £550. It supports a 24Bit/96kHz digital coaxial S/PDIF signal input only.

The DAC 1 Signature is evolutionary rather than revolutionary, but nonetheless disturbingly disruptive because of the utterly astonishing sonic value it offers. Frankly, I cannot think of another DAC at a retail price of £2,000 that I would rather listen to. At the current price of half that, the 1 Signature is a stone cold, crazy bargain that I fervently hope will not turn out to be the commercially unsustainable product that causes SW1X as a company to crash and burn. We have to trust that Dr Roschkow understands the numbers, and that he can make them work.

Set aside such anxieties though and the DAC 1 Signature makes a lot of sense. It is a NOS – non-oversampling – DAC using the resistor-to-resistor TDA1543 DAC chip and the CS8412/14 receiver chip, with a transistor making the current-to voltage conversion directly connected to a single-ended class A, zero feedback E88CC/6N6P tube output stage.

This simple configuration is a world away from the common-or-garden converters that team commercial off-the-peg Delta Sigma silicon with cheap printed circuit boards and cheaper still discrete components. It is also light years from big bucks converters that throw custom devices and massively complex circuitry at the digital to analogue conversion challenge.

The power supply to the digital and analogue stages of the DAC 1 is solid state, with liberal application of shunt voltage regulators. The employment of active I/V conversion, rather than the cheaper and much more common resistor method of conversion, plus the shunt regulators, again not at all commonplace, lies at the heart of the Signature’s creamily analogue sound. More of which in a moment.

What makes the Signature version of this new DAC still more remarkable is the quality of the components used. The less costly standard version uses silver wiring and components of a generally far higher quality than the norm. In the Signature Dr Roschkow selectively applies even more pricey parts in an otherwise identical circuit, deploying high grade devices including Black Gate and Audio Note Kaisei capacitors.

I should perhaps declare a position here which may or may not, depending upon the reader’s own preferences, make what follows worthy of consideration or dismissal. Since 2004 when I heard my first NOS DAC, I can no longer listen to over/up-sampling alternatives without having a major conniption. They all of them, to a lesser or greater degree, sound less like real music; variously short on dynamics, tonality and timing. But if over/up sampling is always a bridge over the Styx into a hellish underworld, NOS doesn’t necessarily guarantee a pass to the sunlit uplands. Some NOS DACs I’ve heard are very ho-hum too. But a few have proved sublime.

My own DAC for some years has been an Audio Note 4.1 Balanced. While in that time I have heard NOS DACs by other manufacturers, and liked some of them, the 4.1’s unforced, smooth and airy analogue presentation has kept me faithful to it.
The SW1X DAC 1 Signature is not a 4.1-killer. The DAC 1 lacks the 4.1’s output transformers, its tube rectified power supply, and the interstage transformers that Audio Note employ to impedance match the digital stage to the zero feedback output stage. Sonically it doesn’t deliver the same degree of tonal subtlety, sound stage bloom and spatial integrity, or the 4.1’s overall linearity. But, really, what should we reasonably expect from a DAC that is approximately a fifth the price of the 4.1?

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Dr Roschkow clearly regards Audio Note’s digital products with respect, but he also sees them as a benchmark to beat and he was greatly interested to receive independent feedback on how that quest might be progressing. DAC 1 Vs 4.1 was not a fair fight. But with the aid of the ‘wam’s George47 who kindly loaned his own £2,500 Audio Note DAC 2.1, I was able to arrange a more balanced contest.

The SW1X DAC 1 Signature was pretty much virginal when it arrived. After several days of being left permanently switched on it became more open and airy, and the bass firmed up. From the off it proved a beast of a box dynamically, with a punchy and very free-flowing delivery that made uncompressed recorded material sound lively, un-sat-on and, well, delightfully smooth and analogue, in a way that far surpassed the results from any non-NOS DAC that I have heard.
The AN 2.1 has a darker, more brooding sonic aesthetic, but the DAC 1 doesn’t deliver quite as much low level detail, with the bass in particular sounding marginally less tonally rich, informative and correctly tight than that provided by the AN 2.1. The DAC 1 sound stage too, in comparison to that of the AN 2.1, remained resolutely less expansive, portraying voices, and instruments, and the recorded space, smaller than those thrown by the Audio Note DAC. Where the DAC 1 does better than its slightly more costly rival is in the area of openness and top end extension, delivering a performance that on some material proves really quite beguiling. I can imagine how many potential buyers, perhaps those in particular who listen to folk and jazz, will find the DAC 1’s extra apparent extension and lightness of touch very attractive.

After having it here and enjoying it greatly for two weeks I sent the DAC 1 away for a short holiday in George47’s system. Ever curious, he pitted it and his now repatriated AN 2.1 against a Metrum Octave, a NOS DAC that has won particularly glowing reviews from a number of publications. He found that both the DAC 1 and the AN 2.1 delivered a notably more dynamic, less edgy, smoother, more analogue presentation that the Metrum.

I am quite prepared to believe that I didn’t hear quite the best from the DAC 1 Signature. The liberal use of Black Gates in its circuitry implies an extended settling in period; they are recognised for taking as much as several hundred hours to stabilise. Even so, I found the DAC 1 exciting. Dr Roschkow has combined thoughtful and knowing design tweaks to established NOS DAC topology, and has implemented the circuit using seriously quality components and an impressive build standard. The design intelligence and component selection together result in a sonically very compelling package that even at a soon-to-be RRP of just over £2,000 will set a new price/performance standard of serious appeal to buyers for whom analogue-ness is paramount. It follows that at the current price of just £1,000, the SW1X DAC 1 Signature is, as I said at the start, a crazy, stone-cold bargain.

However, what excites me so much about Dr Roschkow’s enterprise – and is the reason I so fervently hope that he can make a commercial go of it – is not the currently astonishingly low price of one box, but what the SW1X Audio Design approach presages. Dr Roschkow is working on still more advanced and sophisticated iterations of the same DAC digital circuit design, using tubed power supplies, custom transformers and alternative even higher quality tubed output stages, one of which will feature the glorious 45 triode. If these still-in-development products couple linear performance increases with prices that also increase linearly, then truly high-end digital is soon to become more affordable.

SW1X Audio Design DAC 1 Signature
Manufacturer:
SW1X Audio Design
Dr. Slawa Roschkow
+44 13 7656 2402
roschkow@clartes.co.uk

http://sw1xad.co.uk/

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Hugo 2 adds new features, state-of-the-art performance, plus an all-new chassis design  5th January 2017, CES, Las Vegas: Chord Electronics has unveiled Hugo 2, a dramatically redesigned version of its legendary portable DAC, featuring all-new casework, flexible new features, plus next-generation technical and sonic performance (£1,800)   Three years ago at CES 2014, Chord Electronics …

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