November 14, 2019 § Leave a comment

“In some ways, you can call it that way. The background is dead silent with over-ear headphones (but not with super sensitive IEMs like the Campfire Andromeda Gold). There is a preciseness and cleanliness to the sound. Bass beats can seem almost edgy and have good impact with no bloatiness or fuzziness. It to me feels like it’s easy to separate instruments with these sound qualities. I think this works out extremely well with electronic music.

I’ve listened to many tube headphone amplifiers and I’ve definitely felt that there’s a sense of space in the sound. It’s probably harmonic distortion and warmth from the tubes, but it works for me. That sense of space is missing with the THX 789 however. Moreover, so is any other type of coloration. It’s a neutral sounding amp.”

IsoAcoustics Gaia III for Turntables

November 14, 2019 § Leave a comment

dCS Rossini Master Clock Review

November 14, 2019 § Leave a comment


“dCS feels that listening tests have proven to their engineers that having a dedicated master clock delivers superior sonic results over a DAC alone acting as the system’s master clock. The current dCS clock features the latest iteration of the company’s multi-stage Phase-Locked-Loop (PLL) system, outfitted with multi-stage power regulation and housed in an “aerospace-grade machined aluminium chassis fitted with tuned acoustic damping panels [to] reduce magnetic effects and vibration.” Special crystals are employed in clock systems which are chosen for their oscillation accuracy over both short and long-term timing domains. At dCS (and many other high-end companies), these crystal oscillators are pre-aged. They are “… selected for long term stability and then individually calibrated over a wide temperature range to ensure consistent optimal performance. [The] Rossini Master Clock uses a sophisticated microcontroller system to ensure smooth frequency correction as the temperature changes, and this approach gives a more stable result than either oven-controlled crystal oscillators (OCXO) or even atomic clocks,” according to the company.”

Fyne Audio F702 Review

November 13, 2019 § Leave a comment


“The company quotes a power handling of 30 to 200W, and the speaker can stand 100W RMS of power continuously. Sensitivity is put at 92dB per watt, which is very good by class standards and means that many valve amplifier users will naturally be drawn to the F702. Nominal impedance is 8ohm, and Fyne Audio says that in a typical room, the frequency response is 30Hz to 34kHz (at -6dB). Being a human being, my ears prevent me from verifying the higher frequency claim, but the back of my chest confirms that the F702 goes down extremely low in my listening room, at least.

One of the joys of loudspeaker reviewing is the sheer diversity of sound you get to hear. Experience soon teaches you to expect a certain style of presentation from a particular type of speaker; for example, Quad electrostatics are way different to horn-loaded Klipschs. So with a large floorstander with a point-source treble/midrange driver and an equally sizeable bass unit, odds are that it’s going to be expansive, widescreen fun – and so it proves. “


November 13, 2019 § Leave a comment

“To personalise the Aventhos, you install an iOS or Android app on your phone, called MIY (Make It Yours). You then specify your age and then run a series of test signals. Basically, the app plays a range of tones at 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, and 8 kHz. You tell the app when you start and stop hearing each tone (by simply pressing a button on the screen). MIY then makes and loads your profile into the Aventhos.

With an MIY profile in operation, the sound changes. The degree of the change can be tailored in the app more to the subtle side or to the dramatic. Even at the least dramatic setting, I found my first profile actually made the sound worse, with the Aventhos now obviously too bright and edgy. Fortunately, creating a new profile is so easy that you can try again and again. I did, and after a few attempts I got to a profile without some of the obvious issues of my first try.”

EAT Prelude Review

November 13, 2019 § Leave a comment


“Kicking off with the hauntingly beautiful Cascades collaboration between pianist Jean-Michel Blais and electronic composer CFCF, the EAT immediately impresses. This is not a huge-scale performance, but anything with a grand piano requires a certain ability to deliver it convincingly and here the Prelude feels very capable. The piano sits centre stage in the recording with the strike and decay of notes delivered with real presence. The performance is placed in a convincingly open and three-dimensional soundstage that extends effortlessly beyond the confines of the speakers. The bass isn’t as seismic as some costlier designs, but is more than competitive at this price point.

This is not the preserve of simple material either. The more congested and complex Tomorrow’s Harvest by Boards Of Canada is reproduced with a convincing balance of scale and three dimensionality. This openness is combined with an impressive level of refinement too. I often find the 2M Red a little fatiguing in some setups, but here it is difficult to unsettle and even the brittle pressing of Resistance Is Futile by Manic Street Preachers is handled convincingly.”
Read more at https://www.hifichoicemag.com/content/eat-prelude#m4O7UrhrqEvg0GL7.99


November 12, 2019 § Leave a comment


“The Vanquish comes complete with the Vanquish Phono Stage which is the next evolution of our already known VPI Voyager Phono, another design by Mike Bettinger’s handy work!  The Phono Stage can take multiple inputs and while the protype model only has two inputs, the final amount of inputs on th”e production model is still to be determined.  The build and finish takes our existing phono stage technology to a whole other level and uses the same isolation feet found on our HW-40.

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