Audiophilepure

You always remember the music you grew up with, and for me, that’s Styx. They were my favorite band in the ’70s and ’80s, and they still move me when I listen to albums like Equinox. These recordings are more treble-forward, and the Hekla managed to keep the synths and screaming guitars from becoming harsh. The drum and bass anchored classics like Lorelei and Midnight Ride with a controlled punch. Dennis DeYoung’s high tenor cut through with just the right balance.

I couldn’t leave this review without a trip through Foo Fighters’ Wasting Light. This was Dave Grohl’s first use of the Neve console he bought from the now-defunct Sound City Studios in LA. It is a true reference rock recording for me because it has no digital processing. It’s analog all the way, and the Hekla gave this quality material its full head. Though it’s a studio recording, it has a live club feel with depth, warmth, and texture. The band seemed to do its thing right in front of me.

https://www.soundstageultra.com/index.php/equipment-menu/1318-technics-sl-1200gme-turntable

Sadly, some audiophiles will turn their noses up at a product from a major Japanese manufacturer that in their mind resembles a DJ turntable. That’s their loss. I think the SL‑1200GME looks cool as hell, and, crucially, it is an astonishing performer that can compete with turntables in the £10,000–£15,000 class. My only caveat is that you must ensure it is sufficiently isolated from vibration, because the built-in isolation, while good, isn’t as effective as that offered by a suspended-subchassis turntable. Once effectively isolated, you will have a turntable that will match or better some very exotic hardware.

In this job, one is exposed to a lot of esoteric audio equipment, so it’s easy to become blasé about products. Not this time. I don’t mind admitting that the SL‑1200GME filled me with lust—I would love to own one! Visually and sonically, it’s very different from my SME Model 35 and Michell GyroDec, although its extraordinary speed accuracy reminded me sonically of the SME Model 35.

The challenge to design Artisan Acoustics “Euphonia” was formidable. To achieve the speed and dynamics of a midbass horn and the depth and extension of a 2.5-meter-tall bass horn within a single structure. Key Specs HF: 1″ compression driver (flat to 21 kHz)MF: 2″ compression driverLF: 15″ custom Audio Technology driverActive 1st-order crossover22 Hz–21 kHz

https://www.whathifi.com/hi-fi/turntables/esoterics-new-t-01-turntable-is-dedicated-to-reproducing-the-original-master-sound-with-breathtaking-realism-musical-energy-and-emotional-depth

According to Esoteric, the “MagneDrive” system was more than five years in the making. It sees a soft Iron induction wheel surrounding the lower part of the aluminium platter, which spins in response to the rotation of a magnetic driver mounted on the drive motor. Consequently, there is no direct physical contact between the platter and motor assembly, keeping the platter isolated from the motor’s vibrations.

https://www.headfonia.com/lotoo-gungnir-review

In terms of sampling rate support, the Lotoo goes up all the way to 768kHz and DSD512, giving you the maximum support for digital files. Though, it does not specify which input supports what sampling rate.

Like any good audio device, the Gungnir’s internal structure separates digital and analogue domains from the power. The headphone output can be adjusted to your needs, by selecting between four different gain settings you can use hard to drive cans just as much as highly sensitive IEMs. In fact, I have run through a variety of headphones from the easy to drive Austrian Audio The Arranger to the HiFiMAN Susvara. At work I used In Ear Monitors only.

Just like all Lotoo audio players and dongle DACs, the Gungnir features ATE and PMEQ II for sound shaping, although you cannot set your own Parametric EQ settings, but solely rely on the presets loaded onto the Gungnir by Lotoo. But those are fantastic choices already. Especially the Headphone setting is magical!

The Gungnir currently sells for 3,400$ or 3,399€ and is available only through their distributors and their authorized dealers

https://www.headfonia.com/plussound-sonora-se-review

Despite the increased quantity, the bass never feels uncontrolled. It is tight, textured, and surprisingly articulate for an IEM with this level of emphasis. The transient response remains convincing, while decay is carefully managed to prevent low frequencies from overwhelming the rest of the spectrum.

Compared to the original Sonora, the bass feels slightly more disciplined and refined, with improved definition and a stronger sense of control.

That said, this is unapologetically a bass-oriented flagship. Whenever a recording contains prominent low-frequency information, the Sonora SE reproduces it with authority. People searching for a neutral or reference tuning may find it excessive, but those who appreciate a powerful, full-bodied presentation will likely find it compelling.

https://www.soundstageultra.com/index.php/equipment-menu/1314-clarus-concerto-mkii-power-conditioner

I built a new Roon playlist for this review, containing all sorts of music, from jazz to rock’n’roll, klezmer, and classical, with stops in between. My findings were consistent throughout. First, there was a totally silent background, even with the volume at max. A good start. Second, I never detected any reduction in dynamic range with the introduction of the Clarus. Nor could I sense even the slightest softening of transients. The image was never restricted or flattened, and I experienced no polarity, ground fault, or protection issues.

Listening to music with my components plugged directly into the wall, I could detect a very low-level hiss from the tweeter if I put my ear to it. Without the power conditioner in the chain, I noticed an increase in brittleness and harshness, a reduction in resolution, the presence of some “tizzyness” in cymbals, and sometimes an edge on vocals. In general, I found the sound less musical and more tiring.

I’ll single out Eric Bibb’s superlative new album, One Mississippi (24‑bit/96kHz FLAC, Repute Records / Qobuz). The title track reminds me of Tom Waits (à la “Way Down in the Hole”) channeling Keb’ Mo’. It integrates multiple instruments into a coherent image with terrific bass and color. With my components connected to the Concerto MKII, I heard fine leading edges on the stringed instruments with no hint of harshness. But without the Clarus, there was an edge to the violin and on Bibb’s voice.