AudioMachina Maestro GSE
October 18, 2015 Comments Off on AudioMachina Maestro GSE
. Four elastic sticky pads ensure that both elements cannot topple over. Naturally it’s more elegant because no connection can be seen between the woofer and monitor. Putting together the monitor without bending the copper bars requires two people who, in addition to muscle power, should also have finesse as well. I would at least wish for slightly more stable rods. Admittedly I did dismantle and set up the AudioMachina one or two times to swap places with the Lumen White. This really tiny criticism naturally doesn’t apply if you decide to buy a Maestro GSE which your dealer or salesperson then assembles for you and you leave it in that place. I really can’t imagine that you would like to move the AudioMachina out of your listening room for acoustic reasons.
VPI Prime review
October 18, 2015 Comments Off on VPI Prime review
” The VPI takes it all in its stride, uncovering links between the flood of instrumentation and apparently random sounds, turning what could be a big acoustic mess into an organised and cohesive whole. This is a feat that few rivals at this price can manage.
ASTELL&KERN AK500N MQS NETWORK AUDIO PLAYER $12,000 REVIEW
October 17, 2015 Comments Off on ASTELL&KERN AK500N MQS NETWORK AUDIO PLAYER $12,000 REVIEW
“Finally, totally confounding my expectations, I preferred playback from my NAS over my home network to both the other sources. It seemed to combine the best features of the other two: low-end depth and impact were just as great, and I heard just as many bass details as from the SSD and more treble detail than from the USB drive. Microdynamics were just spectacular; the music sounded like a spring being wound up, then suddenly released. While I’ve heard this characteristic from other servers, it’s seldom if ever been as starkly defined as with the AK500N.
Noble K10 Review
October 17, 2015 Comments Off on Noble K10 Review
The Prestige process begins with digitizing acrylic moulds of the inner ear using one of the most advanced 3D-scanning processes available: over 2.5 million data points are collected and manipulated per ear. Once digitized, the pieces are painstakingly shaped from a solid artistic medium in a process that can take up to 30 hours per ear. Each piece is then hollowed out by hand to accommodate the driver assembly and internals before being finished with a hypoallergenic lacquer and buffed.” That’s why I had to wait. The release continued: “Prestige is a bespoke ten-armature CIEM of unrivalled quality and sonic performance
Focal Sphear in-ear headphones Review
October 15, 2015 Comments Off on Focal Sphear in-ear headphones Review
IOS CORNER FACE-OFF: HF PLAYER AND NEPLAYER
October 15, 2015 Comments Off on IOS CORNER FACE-OFF: HF PLAYER AND NEPLAYER
New music must first be synced before it registers in your device. If you’re listening to regular old Redbook file, you can just plug and play through iTunes the way you do normally. iTunes files sync normally. If it’s HD files you’ve got a hankering for, you have to drag and drop them into the app section of your iDevice. Either way, you first need to sync your device. I kind of find it a drag. And, the same files take yonks to transfer. A DSD album measuring 1,5GB takes much longer to sync than the same size album through iTunes. That is the nature of non-proprietary interfaces.
earstream Review
October 15, 2015 Comments Off on earstream Review
My only concern was the harmony between Michal’s creations and my HD800. I would also be trying my trusty Audeze LCD-2 and compare the Sonic Pearl 2 with his first Black Pearl with PSU, Cembalolab’s Spring 1 and Burson’s HA-160DS amplifiers. I parked myself on my desk and assembled a useful playlist. My first selection was Mullova. For me, Viktoria Mullova must be one of the three finest violinists currently active with James Ehnes and Vadim Gluzman. I am a big fan and followed her since her Bach albums. Her impeccable technique and soulful tone are what I look for in a violin player. She and pianist Kristian Bezuidenhout met on this Beethoven Violin Sonatas Nos 3 & 9 album released on Onyx. Here we have period instruments with shimmering synergy. EarStream’s reproduction of the violin’s timbre was pellucid without being harsh even on Mullova’s high-pitched passages. Bezuidenhout’s forte piano was a little dark but perfect for my HD800. Too much treble energy with the Sennheiser could be problematic. Because this treble was a little rolled off compared to the Cembalolab Spring 1, there was no need to decrease the overall volume.
Hifiman Edition X
October 14, 2015 Comments Off on Hifiman Edition X
Early rumours or expectations (no one has heard them yet except for Steve): Smaller soundstage, warmer, priced between HE-6 ($1,299) and the HE-1000 ($2,999).
DEFINITIVE TECHNOLOGY SYMPHONY 1 HEADPHONES REVIEW
October 14, 2015 Comments Off on DEFINITIVE TECHNOLOGY SYMPHONY 1 HEADPHONES REVIEW
We loved the sound by Bluetooth, the slight brightness of the active circuitry compensating for any softness through the Bluetooth link and delivering a lively, balanced and energetic performance. Their 50mm drivers can deliver low, as witnessed by Neil Young’s Walk With Me suitably shuddering the skull under its low resonances, they had the light touch required for the detail in Paul McCartney’s My Valentine, and they passed the congestion test of kd lang’s The Air that I Breathe, its tricky layers and rising dynamics remaining smooth and information-rich even during the massed vocal peaks.
Ayre Acoustics MX-R Twenty Mono Amplifiers
October 14, 2015 Comments Off on Ayre Acoustics MX-R Twenty Mono Amplifiers
I heard evolutionary changes in multiple parameters. Overall, these could be described as a greater robustness in the MX-R Twenty’s sound over the MX-R: more meat on the bone. The MX-R Twenty did away with the faintest sheen of electronic haze that I heard in the MX-R only in direct comparison with a pair of Aesthetix’s Atlas Signature tubed/solid-state monoblocks. What I’d incorrectly attributed to the faintest remnant of LP surface noise or master-tape hiss in the otherwise effervescent sound of Louis Armstrong and Ella Fitzgerald’s Porgy and Bess (180gm LP, Verve/Speakers Corner MGVS-6040-2) was revealed as an artifact introduced by the solid-state MX-R. There was no hiss with the MX-R Twenty. The increase in contrast made possible by eliminating the perception of a noise floor (rather than artificially boosting the top) opened the door to greater enjoyment regardless of volume level, and never at the expense of long-term listening pleasure. There was nothing etched about the MX-R Twenty’s sound.
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