Audiophilepure

After setting up the hardware and making the necessary cable connections, I installed the MiND Controller app on my iPad. The user interface of the app was generally good, and it did not take long for me to navigate comfortably through its various functions. The streaming control using the app was typically swift and loading and modifying the queue were quite straightforward. I appreciated being able to access the music files stored on my NAS using the app. Most of the time during the review, I used the app to control the operation of the MOON 681, such as changing input selection and turning the unit on/standby. Apart from some occasional glitches, operating the MOON 681 through the app typically ran smoothly. The glitches were mostly associated with the occasional loss of network connectivity when waking up from standby, causing the device to appear as MOON 681 (unconfigured) in the app. Switching the device off and then on again after a few seconds (from the on-off switch on the rear panel) typically resolved the situation, allowing it to reconnect to its stored network configuration. Given the infrequent occurrence of the glitches, I did not find them overly concerning. A firmware update could probably fix it.

https://www.hifinews.com/content/eat-fortissimof-note-turntablearm

I’ve recently been reviewing mono albums, so it was interesting to hear how the EAT package dealt with the bedlam of psychedelia piled into the centre. The Tangerine Zoo’s eponymous debut [Sundazed/Mainstream LP5673] provided ample fodder for testing both the solidity of central placement as well as the layering of sound. Instead of a morass of crazed instrumentation, it was almost forensic in the way it allowed the listener to separate massed instruments.

Obviously, a mono album such as the smooth jazz quintet of Kenny Burrell & John Coltrane [Craft Recordings/New Jazz CR00720] didn’t present this challenge. Instead, it tested how full could be the single-channel sound. The Fortissimo/F-Note sounded as imposing as one would want a mono-only masterpiece, filling the stage, and I have no doubt that this aspect is a by-product of the deck having been voiced for orchestras.