HIFIMAN HE1000 PLANAR MAGNETIC HEADPHONES
September 20, 2015 Comments Off on HIFIMAN HE1000 PLANAR MAGNETIC HEADPHONES
But can the HE1000 also compete with the mighty Stax SR‑009 electrostatic headphones? In a word, yes. My sense is that the HE1000 is on a par with the Stax in terms of speed, detailing, and transparency, but without—and this is important—the Stax’s occasional tendency to overlay the music with a subtle touch of treble ‘sheen’ that makes small details stand out in almost exaggeratedly sharp relief. Add to this the fact that the HE1000 offers arguably superior dynamics, better and more incisive bass, and can be driven by conventional (rather than purpose-built electrostatic) headphone amplifiers, and I think we have a winner.
Acoustic Research 80-B Bookshelf Speakers
September 20, 2015 Comments Off on Acoustic Research 80-B Bookshelf Speakers
Speaking of enjoyment, these speakers ooze performance with a delivery that is clean, crisp and detailed. Instrumental and vocal numbers shine when heard through the 80-B which is audibly confident in its presentation. Don’t let the diminutive size fool you as these speakers produce reassuringly deep bass that does not sound lean or over egged.
JL AUDIO GOTHAM SUBWOOFER AND CR-1 CROSSOVER
September 20, 2015 Comments Off on JL AUDIO GOTHAM SUBWOOFER AND CR-1 CROSSOVER
While I can’t say that the CR-1 is completely invisible sonically, it is unquestionably far more transparent than any active subwoofer crossover, built-in or external, that I’ve tried—and over the decades I’ve tried a few. In Brett’s words, the CR-1 was “engineered for audiophiles by audiophiles,” its design based on years of calibrating subwoofed systems for picky high-enders
JE Audio Reference 1 Preamplifier
September 20, 2015 Comments Off on JE Audio Reference 1 Preamplifier
One of the things I’ve always loved about the VL10.1 is its ability to cast a wide, deep soundstage — it makes recordings that have preserved a credible soundstage sound gloriously superspacious. In this area, too, the Reference 1 didn’t disappoint — its soundstages were as wide and deep as the VL10.1’s — but it one-upped the VL10.1 in image specificity on those stages; its images being much more precisely delineated and holographic. When I played “Mining for Gold,” from the Cowboy Junkies’ The Trinity Session (16/44.1 FLAC, RCA), Margo Timmins’s voice hung with laser-like focus and palpability at the center of the stage, with each accompanying instrument positioned tangibly in its own space at a realistic distance from her. I’ve visited the space in which this recording was made
YG Acoustics Carmel 2 Loudspeaker Review
September 19, 2015 Comments Off on YG Acoustics Carmel 2 Loudspeaker Review
The 5th and final trademarked technology is FocusedElimination, which refers to the reduction of the internal friction which prevents the drivers from working in a purely linear fashion. In a high friction (or lossy) enclosure, you get a slow boxy sound. On the other hand, low losses lead to a tight punchy bass and quick reactions. Losses are reduced here by eliminating internal standing waves, achieved by the special geometry of the interior walls and the use of anti-resonance technology applied to specific pinpoint locations within the cabinet, rather than the traditional approach of employing considerable amounts of cabinet stuffing and panel damping.
GAMUT D3I PREAMPLIFIER AND D200I POWER AMPLIFIER
September 19, 2015 Comments Off on GAMUT D3I PREAMPLIFIER AND D200I POWER AMPLIFIER
The GamuT pair, especially the D200i, manage to combine power with tonal subtlety – a quality that serves whatever music you want to play very effectively. The D3i is not the most relaxed or natural-sounding preamplifier on the planet, but it can produce a vivid and entrancing sound that lets you hear the meaning in the music. It is extremely good at resolving reverb and timing, though not in the front league, is certainly not sluggish. With Barenboim’s Beethoven For All Symphony No.1 in C, Op.21 [24/96, Decca], the orchestra really breathes (again!): it’s too big for the room, but you get a strong sense of the power and dynamics on tap. Some might want a bit more authority
EAT C-SHARP TURNTABLE WITH ORTOFON QUINTET BLACK CARTRIDGE
September 19, 2015 Comments Off on EAT C-SHARP TURNTABLE WITH ORTOFON QUINTET BLACK CARTRIDGE
Isolation is always something to consider when purchasing a turntable and finding the right location for it in your listening room. While the C-Sharp has internal damping within its sandwich chassis as well as elastomer-damped feet, care should be taken with its placement. The top chassis is a bit lively when touched or tapped—enough to hear sound through the speakers. This liveliness can result in the ’table being susceptible to airborne or robust floorborne vibrations. Acoustic feedback, especially from powerful bass-heavy transients, can potentially cause turntable systems to oscillate.
Classe Sigma AMP5 Five-Channel Digital Amplifier Reviewed
September 18, 2015 Comments Off on Classe Sigma AMP5 Five-Channel Digital Amplifier Reviewed
Despite being rated at a mere 200 watts per channel, the Classe AMP5 laughed at the challenge of this bombastic track. Control, poise, and presence were the notes I scribed through my listening session. While I am used to bigger Classe amps in the CT600 mono blocks, I couldn’t get to the end of the 200 watts here in the AMP5 when driving my easy-to-power Focal Diablo Utopias. Consider the difference in price between the reference mono blocks for two channels and the AMP5 at five channels, and you’ll start to see the overall value of the AMP5.
NAD C 556 review
September 18, 2015 Comments Off on NAD C 556 review
Elsewhere, dynamics are strong and timing is tight. Put it together and you have a rounded performance that ticks all the right boxes.
Read more at http://www.whathifi.com/nad/c-556/review#juctPjFFoGRvQrXT.99yyy
MOON by Simaudio Neo 380D DSD Review
September 18, 2015 Comments Off on MOON by Simaudio Neo 380D DSD Review
He sounds like the male equivalent of Natalie Merchant because of this richness. Underneath Laith’s vocal throughout much of the track exists a very natural sounding group of baritone backing vocalists. The 380D DSD does a terrific job of separating Laith’s vocal from this backing vocal. It’s like the backing vocal just hangs in the air supporting Laith while he belts out the main lyrics. Taken together the sound is simply great.
You must be logged in to post a comment.