December 6, 2019 § Leave a comment
“There is no such thing as the One Deck at this or any price. Turntables introduce a degree of observational and subjective nuance that is only matched by the loudspeaker in a system. Different turntables will work best in different systems, but in the case of the Air Force V, it is versatile enough to work its way into several very good systems and sound good. Unless you have rigged the sound of the system to make it work in a very narrow set of conditions – making it ideal for one kind of turntable and few others – the TechDAS AirForce concept and the AirForce V, will always come close to or top of the list. There are very few turntables that could lay claim to the same universality, and all those that do are generally more expensive than the V and receive near universal praise.”
November 15, 2019 § Leave a comment
The platform has quite a low noise level and smoothness to the sound with no disregard on naturality of instruments and detail, yet it let the Ortofon M2 Blue do what it does best and extracts just a bit more out of the recording. The Tone S tonearm and combination of low noise kept the mechanics of the turntable out of the way more than expected at this level. The transient response and dynamics are where the meat and potatoes of the analog turntable unicorns we all chase are found.”
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.
November 10, 2019 § Leave a comment
But as mentioned at the MTI100 is so much more than that. This is a piece of sonic artistry, that provides high-end sound from all the sources you can imagine, and looks great doing it. For many, this and a great pair of speakers will be a destination music system. For others, it will be a second or even third system. And I’m guessing there will also be a few die-hard, completist McIntosh collectors that will just have one because…
Much as I hate to profile anyone, I suspect the MTI100 will appeal to what I refer to as the “qualityphile” customer. This customer liking solutions off the beaten path, that are as technologically curious as aesthetically motivated. Gazing into my crystal ball, I expect the MTI100 is going to end up in some very design rich environments, and cherished by its owners.”
November 10, 2019 § Leave a comment
“Lest you think the Invictus Jr.’s magic act is restricted to one closely mic’d recording, let me assure you that is not the case. Its amazingly abundant recovery, and uncannily neutral delivery, of sonic information can make virtually any instrument or combo of instruments on very-well-recorded LPs sound “there.” From Gene Ammons’ sax on Boss Tenor [Prestige] to Chet Baker’s whispery tenor (or counter-tenor) on Chet Baker Sings [Blue Note] to David Abel’s Guarnerius and Julie Steinberg’s Hamburg Steinway D on the Debussy Sonata [Wilson Audiophile] to Belafonte and his terrific horn section on Belafonte at Carnegie Hall [Analogue Productions], to The Band’s Richard Manuel’s vocal and piano on “The Shape I’m In,” the Invictus Jr. is able to gestalt-shift you into an alternate universe where recorded artists sound “real,” and do so without losing a great turntable’s ability to tell you how well or poorly an LP was recorded.”