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TH E G E R M A N H I F I M A G A Z IN E 
ISSUE #18 2018

 IFI OR GIMMICK?
❱H
MAG¯LEV ML1

❱ ON VAC ATION

AMERICAN
TUB E
POW ER

REVIEWS: CAMBRIDGE AUDIO SOLO & DUO +++ CANTON REFERENCE 8K +++ CD-DRIVES +++
PROGRESSIVE AUDIO EXTREME 1 ACTIVE +++ HMS CABLE +++ AUDIONET SAM 20 SE +++
PIEGA T MICRO 60 AMT +++ SERVICE: STREAMING-NETWOKRS +++ REPORT: VINYL PRESS
...to celebrate our 40th birthday, we’re offering something a little
bit different. Introducing our Westphalian capacitor man ($9,000
individually signed). Buy one and get an R-series Multi-Source
Player free of charge! These guys won’t be around long so be
quick, as this offer is only available during our celebrations.

www.ta-hifi.com
 EDITORIAL

NOW WHO
NEEDS ALL THE
HIFI SHOWS?
Every autumn, the great trade fair hype imperfect conditions for demonstrations.
breaks out all over the world, and it doesn’t Extremely expensive products that hardly
stop until February, after the ISE in Amster- any retailer can afford to present in his shop
dam, before reaching its climax in May with make a visit for many customers particu-
the Munich HighEnd. The export- and larly worthwhile. Also people who prefer
development managers or CEOs are hardly the anonymity granted by the number of
to be found in their companies for months. visitors over having direct sales contact in
They jet from exhibition to exhibition, from a shop appreciate the exhibitions.
continent to continent, always in the hope However, as always in life, there is also
for numerous visitors, many new business a downside: the effort required for such
contacts and as positive a coverage as pos- shows devours time and money. Hence, it is
Visit us at:
facebook.com/stereo.hifi.magazine
sible in the hifi press. Latter guarantees that necessary to ask the question as to whether
those who stayed at home also get an insight this large number of shows is really needed
into individual manufacturer’s current state or whether a cutback would be useful. Lat-
of development and the industry in general. ter might help to bring product develop-
These internationally oriented trade fairs ment and the price/performance ratio of
are complemented by a wealth of regional some products back into balance.
events, some of which are organized by
dealers and replace traditional in-house
fairs in many places.
All these give you as a customer the oppor-
tunity to get to know and, most impor-
tantly, hear a great variety of products in a Michael Lang
very short time, notwithstanding the often editor@stereo-magazine.com

All prices listed in this magazine are German retail

prices incl. VAT valid at the time of evaluation.

3 STEREO MAGAZINE ISSUE 18

 CONTENT

VAC SIGMA 170I IQ CANTON REFERENCE 8 K

Due to its patented bias circuitry, the 170I IQ is guaranteed to always deliver optimum In the several hours lasting listening ses-
sound, while, also, significantly increasing the tubes’ lifespan. sion, the 8 K proofed to be capable of
some serious volumes. However, it per-
formed just as great at lower levels.

PROGRESSIVE AUDIO
EXTREME 1 AKTIV
MAG¯LEV ML1 Clever engineering and uncompromising
After all, turntables are all the same… If that’s your opinion, dedication make the Extreme 1 Aktiv a ver-
the MAG¯LEV ML 1 is certainly going to challenge it! satile, living room-friendly, but very capable
speaker – even beyond its price range.

CAMBRIDGE AUDIO
PHONO PREAMPS
The “Solo” and slightly more expensive
“Duo” make a very good first impres-
sion to the touch. Can they equally
satisfy in the listening room?

4 STEREO MAGAZINE ISSUE 18

 CONTENT

STREAMING
NETWORKS BASICS
Although for many audiophiles network
streaming is a topic of interest, a lot of us
are alienated by the complicated and
often obscure technology behind it. Here,
we clarify the most important basics.

REVIEW
CD-DRIVES
Although the tested
devices lack a DAC
and are therefore
nothing else then
pure bit-suppliers,
they, surprisingly,
have a remarkable
impact on the sound.

REPORT:
NEW VINYL
PRESSES
The majority of vinyl
is, to this day, printed
on machines from the
50s to 70s. German
company “Newbilt”
are now building and
selling new presses
for the first time in
over 30 years.
PIEGA TMICRO 60 AMT
Unfortunately, no manufacturer has yet
managed to build entirely invisible
loudspeakers. The compact and elegant
Piega TMicro 60 AMT is, however, the
closest you can get.

HMS SUPREMA
AUDIONET The new flagship of Leverkusen-based
SAM 20 SE company HMS is certainly the opposite
The “SAM” integra- of cheap. But can its performance justify
ted amps are around the price?
for ages and have
repeatedly served us
as references. Cele-
brating SAM’s birth-
day, Audionet laun-
ched a strictly limited
special edition – and
it’s even better than
the original.

5 STEREO MAGAZINE ISSUE 18

 R E V I E W T U R N TA B L E S

FLOATING APPEAL
The MAG¯LEV‘s platter levitates above any „bad vibrations“ on its

magnetic cushion. This way, it is supposed to lift listeners into higher

audiophile spheres. Can the ML1 do this or is it just a fancy gag?

W
hat an awe and wonder it was It only likes MM-pickups time. However, the implementation is so
during the Munich HighEnd The technicalities are to blame. There have complicated that almost everyone kept
show in 2017: at a small booth long been ideas for a magnetic levitation their hands off it. With the exception of
in hall 2 a rather inconspicuous record record player, which would be immune analog-grandmaster van den Hul, who
player was surrounded like a huge sensa- to rumbling, because of the omitted plate presented the well-functioning prototype
tion. In fact, that is exactly what it was. As bearings, while being perfectly decoupled of a drive with magnetically supported
if held by ethereal hands, the turntable from vibrations of the base at the same plate in 2015, but had to cancel the
floated above its base, with its luminous
orange ring ensuring that everyone
noticed it.
It was the ML1 of the Slovenian new-
comer MAG¯LEV Audio. This started as
a crowd funding project with the goal of
not only developing but also building a
record player with “magnetic levita-
tion”-technology, which also gave
MAG¯LEV Audio their name. The idea is
not new, as, e.g., the famous train “Tran-
srapid” works according to the same prin-
ciple. The aim is to lift up and then control
an object provided with magnets, via an
electrically generated magnetic field. In
the case of the Transrapid, several tons  The only control is a knob to select „Off“ and  As an alternative to the OM10 (left), the
have to be handled, while in the ML1, it’s the two speeds, the values of which flash during ML-1 is also available with pre-mounted
“only” the 2.2-kilo turntable. However, start-up and only light up continuously after the Ortofon-MM 2M Blue, which is clearly
even this is a real challenge. selected speed has been reached. superior in sound quality.

6 STEREO MAGAZINE ISSUE 18

 R E V I E W T U R N TA B L E S

project for various reasons. One of them Using it demands quite a lot of patience
was that inductive interactions of the from the listener. The initial position is
powerful magnets of MC pickups, for that the platter lies on four plastic rods
which van den Hul is famous, with the when the unit is switched off. Turning
magnetic field of the turntable occurred, the knob on the left side of the chassis
which irritated the controls. one step to the right to “33” and pushing
It is no different with the ML1, despite the height-adjustable tone arm, Pro-Ject’s
the shielding steel plate implemented in proven 9cc with low-resonance carbon
the platter. It can, therefore, only be used fiber tube, over the record, the bars are
with MM-cartridges. Also “Moving Iron” lowered into the frame under buzzing
scanners (MI) are not recommended, and noises, and the plate hovers freely. It will
even among the “Moving Magnet” (MM) then gradually pick up speed, while the
types, which are in general suitable due orange “33” flashes. This takes a while,
to their small magnets, there are models during which you can safely lower the
the Slovenian is not compatible with. In arm lift and go to the listening position,
that case it would reduce the speed and as the MAG¯LEV only places the needle
finally lift off the tone arm after a short on the vinyl after the target speed has
playing time, to signal the problem with been reached, at which point it also
a red flashing speed display. switches from flashing to continuous
For this reason, the manufacturer, who light. A full 45 seconds pass by from
had to overcome numerous technical hur-  With the ML1, MAG¯LEV audio developer pressing the button to the first sound.
dles on the way to serial production and Tadej Doles achieved a real coup Quickly listening to a few freshly pur-
continued to postpone the launch of the chased thrift store records might turn out
ML1, is equipping it with Ortofon’s to be an ordeal, as every change of record
unproblematic entry-level MM OM10 at What lasts long... is accompanied by the same process first
a total price of near to 2,500 euros. How- This one had some, let’s say, start-up in reverse and then again from the top.
ever, since this hardly satisfies more than problems. A first device, which found its The arm moves into its holding, the but-
the most basic sound requirements, the way into our listening room in mid May ton moves to “Off”, whereupon the plate
MAG-LEV-turner can also be obtained after the HighEnd, was afflicted by a slight decelerates veeery slowly; the bars move
for 150 Euro surcharge with the Danes’ wobble of the plate. Comment from the up and the turner switches off. Although
much more appropriate 2M Blue, which producer: software error. This could even experienced users with nimble fingers can
is also the one we used in the test. lead to a failure of the turntable’s nor- succeed in quickly fishing the disc from
mally stable lateral guides and the platter the rotating plate, it then often tumbles
slipping off sideways. An absolute no-go! so badly that the device switches to “tilt”
At that point we had our doubts the hov- like a pinball machine that has been
Turned off, four support rods are driven ering technology would ever function pushed too hard, so that nothing works
out of the chassis with a rattling noise reliably. However, the second device anymore at all. Then what has to be done
and keep the plate away from the base taken from the first regular batch ran sta- is to briefly disconnect the external power
and in the same height even without the ble, although one has to take into account supply in order to reboot the control
magnetic cushions.  some of the ML1’s peculiarities. CPU. Don’t worry, the plate does not just
fall onto the base. A buffer maintains the
energy until it safely lies on the support
pins again.

...can do pretty well

It is time to devote ourselves to the com-
plex technology of the ML1: in fact, a
powerful ARM chip runs all processes
and guides the plate by precisely regulat-
ing the ten coils inserted in the chassis,
which are controlled alternately and thus,
according to the principle of the linear
motor, keep the plate, held at a distance
by magnets, rotating. The 21 neodymium
magnets in the plate serve as “counter-
parts”. The control registers its move-
ments and speed via an optical system by
means of nine small mirrors inserted into
the underside of the plate. As a result, the

7 STEREO MAGAZINE ISSUE 18

 R E V I E W T U R N TA B L E S

Slovenian manages to maintain speeds this contradiction and it is yet another When it comes to timing, the turner
quite precisely, with a slight plus at 33.33 compelling argument for a positioning offers a soft “flow” with a little rounded
and a tiny minus at 45. Hardly worth that is as free as possible from distur- corners and edges. A crisp low frequency
mentioning! bances. appears somewhat softened on it, while
Before using the MAG¯LEV, we took However, the magic of the platter, float- voices that are strikingly offset from the
off our mechanical watches, as they gen- ing almost four centimeters above the background seem to be more integrated
erally don’t like magnetic fields. The oper- base, which is available in various decors, into the overall picture. This is the “ana-
ating instructions also recommend that makes up for any inconvenience and lim- log” character of the ML1, and we like it.
pacemaker users should maintain at least itations. No other turntable can offer this Though the MAG¯LEV doesn’t rise into
one meter of distance from the turntable kind of fascination when the platter the analog heaven, it certainly is more
so that it can’t irritate the device’s pace. rotates weightlessly in the air. than just a gag with show effect. And at
Sounds dangerous, but better to be safe Okay, after running up the plate wob- home all your hi-fi friends are guaranteed
than sorry! bles unsteadily back and forth for a few to crowd around it with open mouths.
And what does the revolutionary seconds, which is no problem with nor- Matthias Boede
MAG¯LEV turntable sound like? This is mal pop music. If, on the other hand, a
not an easy question to answer, because piano record is played, the first bars come
the result depends even more than usual across slightly howling and somehow out MAG¯LEV AUDIO ML1
on the environment. The ML1 requires a of tune. Also, the Slovenians cannot sim-
straight, largely vibration-free base. A ply conjure away the axiomatic analog
board screwed to a solid wall would be law that the connection between plate
ideal. Wobbly little shelves on a rocking and tonearm must be as rigid as possible.
wooden floor do not work at all. Even a Logically, movements of these parts rel-
draft of air can cause the plate to tumble. ative to each other must lead to blurring from 2500 €
And then, of course, that’s it with smooth and inaccuracies. Especially in the inner (with MM-scanner Ortofon OM10, with
running, constancy and inner order of grooves, where the radius is small and the Ortofon 2M Red for 2650 €)
sound images. offset, hence, relatively large. Dimensions: 48 x19 x36 cm (WxHxD)
Warranty: 2 years
On top of that, the frame is quite sen- Contact: MAG¯LEV Audio
sitive to footstep noise. We asked our- Timing is in the flow www.maglevaudio.com
selves, what the benefit of such extreme If nothing disturbs its circuits, the ML1
effort as applied for the floating plate is, spreads good mood. James Taylor’s “Her The phenomenal thing about the ML1 is the
if vibrations creep in anyway via the still Town Too”, with its punchy, dry bass, fact that it works at all. Clever, sophisticated
technology makes it possible to guide the
firmly connected to the base tonearm? was depicted with vehemence and power. turntable in a controlled magnetic field.
MAG¯LEV owners have to simply accept The large orchestra in Chadwick’s “Jubi- The MAG¯LEV proves that it is not a gag,
lee” was spacious and cleanly staggered featuring appealing sound images, especially
in depths. It may be that the Slovenian with the Ortofon 2M Blue, which is subject
did not focus quite as much on edge to an extra charge.
A powerful neodymium magnet in sharpness as the nitpickers from the MEASUREMENT RESULTS
the center of the plate carries the record player’s cookie-cutter fraction,
„main load“. Nine narrow mirrors but it was far from diffuse- or even
ensure the controlling.  uncleanliness.

FEATURES
External power supply, RCA connectors,
semi-automatic (the arm is lifted up at the
end of one disc side, shortly afterwards the
platter halts), good quality phono cable

SOUND QUALITY 67%

PRICE/PERFORMANCE

VERY GOOD

8 STEREO MAGAZINE ISSUE 18

 REVIEW PHONO PREAMPLIFIER

A SOLO FOR W
ow, do they look good! When
unpacking the two new small
phono preamps from the

THE CAMBRIDGE-
English company Cambridge Audio, the
first impressions suggest significantly

DUO
higher prices than the just 175 Euro
required for the “Solo” and the almost 300
Euro that the larger “Duo” should cost.
The devices with the titanium-colored
front panels have an elegant and flawless
finish. Their names derive from the fact
that the Solo only amplifies MM pickups,
while the Duo also manages MC.
Operation is simple. There are no
Cambridge Audio includes two entry-level phono options regarding input resistance, capac-
itance or gain and they needn’t be, because
preamps into its portfolio. Both have a balance control, the British have fixed practical values: 39
decibels MM-gain plus 59 dB for MC on
and the larger one even a headphone-jack. How the Duo at 100 Ohm terminating imped-
ance, which is optimal for most inexpen-
much more could we ask for? sive MCs. With 47 kiloohm and 100 pico-
farad for MMs, the flat amps behave, so
to speak, “standard-compliant”.
Is there nothing else special apart from
the noble appearance? You bet: both
phono preamps have a balance control
with center detent on their rear side,

 Since the balance control is no longer used

after having been set, it is located on the phono
amps’ back. The control range is a good four
decibels in each direction (graph below, lower
curves), which is usually more than enough to
compensate for pickup errors. The front level con-
trol of the Duo affects the jack of the headphone
output.

 The Cambridge pre’s connectors are

conveniently double labeled so that they
are easier to identify when leaning over
the device from above.

9 STEREO MAGAZINE ISSUE 18

 REVIEW PHONO PREAMPLIFIER

which compensates for any channel dif- course one could use the mono level tone higher efficiency, as the amplifier stage of
ferences of the connected pickup. These of a test record and a previously with the Duo does not have endless power
occur especially with inexpensive car- tuner noise adjusted VU meter of, for reserves, so that especially people with a
tridges, for which the devices are pre- example, a cassette deck or CD recorder. taste for high volume could otherwise
destined. Too complicated? An easier way would quickly reach limits. In terms of quality,
The important question is how an be to put on the headphones and play a there are no objections to the reproduc-
untrained person can recognize them. Of record with a distinctive, exactly centered tion. It is natural, spatial and therefore
voice. If this is perceived to be slightly long-term suitable. Bearing in mind that
offset to the right or left, the small balance the phono amp in question costs less than
control button is used to pull the voice 300 Euros, it is hardly worth mentioning
exactly into the center, with the control that high-quality headphone amplifiers
range being around five decibels to each offer even more momentum and power.
side. This should be sufficient in any case, However, they often cost a multiple of the
since already with a deviation of more Duo, which is anyway supposed to, first
than three dB, the pickup may be confi- and foremost, take care of phono matters.
dently described as defective. Usually a
maximum of 1.5 dB is enough.
The large knob on the front of the Duo
controls the volume of the headphone Due to the additional MC-section and
jack, by means of which Cambridge Audio headphone amplifier, the component
is responding to the clear trend towards expenditure is higher in the Duo.
“private” music enjoyment. The manu- Discreetly clicking mini relays are located
 The balance control on the rear panel facturer recommends types with imped- close to the inputs. As in the Solo, a metal
only needs to be set once to match the ances between 30 and 600 ohms, hence plate protects the electronics from pos-
used pickup and can then be forgotten. Its offering the listener a broad selection. We sibly interfering radiation from the highly
control range is completely sufficient. ourselves recommend headphones with clocked switching power supply. 

10 STEREO MAGAZINE ISSUE 18

 REVIEW PHONO PREAMPLIFIER

Brilliantly detached sound

CAMBRIDGE AUDIO SOLO CAMBRIDGE AUDIO DUO
Unlike many other small phono amps, the
ones from Cambridge Audio are not pow- Price: around 175 € Price: around 300 €
ered by an external power supply, but Dimensions: 18 x5 x14,5 cm (WxHxD) Dimensions: 22 x5 x18,5 cm (WxHxD)
Warranty: 2 years Warranty: 2 years
have solid sockets on the back. Internally,
an, apparently well-shielded, switching A refined phono pre as long as only an MM Having MM and MC, a useful balance
power supply unit controls the electricity. pickup is used. The Solo can compensate for control and a headphone jack onboard, this
Our initial fears this could harm the del- channel differences and sounds as open as phono preamp sounds extremely loose and
icate input section were proven wrong. it does structured. Especially recommended detached. The nimble bass comes slender,
with a cartridge that subtly represents higher sinewy and dry. Overall, the sound is rather
Neither our ears nor the laboratory’s sen- notes, which is rather common in the lower present than sonorous. The fine workmanship
sitive measuring instruments could detect price-section anyway. Also accounting for and rich equipment suggest a significantly
disturbing influences. By the way: after the fine workmanship, the small Cambridge higher price.
about 20 minutes without a music signal, Audio is a real bargain!
MEASUREMENT RESULTS
the phono pres go into standby mode. MEASUREMENT RESULTS Signal to noise ratio Phono MM (5 mV) 75 dB(A)
This is bound to come in handy, but espe-
Signal to noise ratio Phono MM (5 mV) 4 dB(A) Signal to noise ratio Phono MC (0.5 mV) 54 dB(A)
cially during the initial warm-up-phase it
Overload resistance MM/MC 114 mV/— Phono MM: gain factor 39 dB
can also be rather annoying. Fortunately,
Phono MM: Input resistance 47 kΩ Overload resistance MM/MC 86 mV/2.4 mV
the automatic shutoff can be deactivated, Output resistance 46 Ω Phono MC: gain 59 dB
which shouldn’t be a reason for guilty Maximum output voltage 10 volts Output resistance 46 Ω
conscience, in view of the idle consump- Stereo cross-talk (5mV/1kHz/1kOhm) 58 dB Maximum output voltage 7 .6 volts
tion of just around four watts. Distortion factor at 400 mV 0.01 % / Stereo cross-talk (5mV/1kHz/1kΩ) 54 dB
So far, so good. The really remarkable Power consumption at standby/idle <2 W/3.8 W Distortion factor at 0.03/0.3/1 V /0.01 % /
thing about the Cambridge couple is,
Power Consumption Stby./idle (with) <2 W/4.3 W
however, their sound - especially that of LAB COMMENTS
the Duo. The weightlessness, spaciousness The MM amplification of three decibels LAB COMMENTS
and dazzling transparency it offered in above the usual value is absolutely practical. The Duo offers practical gain factors, low
MM and MC mode is unprecedented in The high signal-to-noise ratio is complemen- distortion and a high signal-to-noise ratio, at
this price-class. Even our 30 times more ted by effective channel separation, which least in the MM branch. For MCs it could be
expensive reference could not do it better. is important for three-dimensionality, and a few decibels more, but there is no audible
low distortion. No negative influences of the interference. Effective channel separation.
What the hell happened here? Okay, to switching power supply could be detected
be honest, the Duo did not even come in the spectrum. There‘s nothing wrong with FEATURES
close to the Brinkmann Edison in terms the Solo! Separate, relay switched RCA inputs for
of color, conciseness and momentum, but MM- and MC-scanners, one RCA output,
FEATURES
with its almost holographic transparency adjustable headphone connection with
it nevertheless did an outstanding job. One RCA input and output each, balance sufficient level reserves, balance controls,
control, deactivatable automatic switch-off deactivatable automatic switch-off
Its reproduction was delicate, lucid and
ethereal. The atmospherically arranged
titles of Loreena McKennitt’s new album
SOUND QUALITY 78 % SOUND QUALITY 83 %
“Lost Souls”, for example, sounded like
PRICE/PERFORMANCE PRICE/PERFORMANCE
they were floating on clouds. On the other
hand, it didn’t handle The Blues Compa-
ny’s fat bass in “If I Could”, from the STE- OUTSTANDING OUTSTANDING
REO Listening Test LP II, quite as com-
fortably, portraying it, as well as lead
singer Toscho’s vocals, rather slender than
profound and powerful. In combination Also great as solo Nevertheless, cross-checks with other
with a pickup that has a slightly reduced The Solo’s performance was also convinc- phono pres, “classmates” as well as rep-
presence range, the tonal balance is per- ing: although the two Britons are very resentatives of higher price spheres,
fect and the Duo played at a level that we similarly structured in their MM-sections, showed that the Solo basically follows its
would hardly have thought possible in the cheaper model couldn’t quite reach light muse and focuses on a slim, sinewy
this league. There, it had already qualified this dissolution of spatial borders and bass and transparency. If you prefer such
as a reference anyway. interior dispersion. It tended to sound a style, you’ve come to the right place. Or
more compact, with a heavy orientation you go all in and directly reach for the
Contact: Cambridge Audio towards the stage’s front edge. However, Duo, which hones this approach. Who
Tel.: +44 20 7940 2200 it also had a nuance more substance and knows, maybe at some point you’d like to
www.cambridgeaudio.com was structurally woven more tightly than switch to an MC or connect headphones.
its big brother. Matthias Böde

11 STEREO MAGAZINE ISSUE 18

 40 YEARS EXCELLENCE

Loving music

Let‘s celebrate Jubilee

Unlimited cartridge edition

Cartridge
Jubilee MM

clearaudio Händler
Finden Sie unsere Händler unter:
http://clearaudio.de/de/dealer/germany.php
oder scannen Sie den QR Code.
aufsess.com

clearaudio electronic GmbH

Spardorfer Straße 150 | D-91054 Erlangen | Fon: +49.9131.40 300 100 | Fax: +49.9131.40 300 119 | info@clearaudio.de | www.clearaudio.de
Made in Germany | Only available from authorized Clearaudio dealers. www.analogshop.de
 R E V I E W F L O O R S TA N D I N G S P E A K E R S

BOUND
TO
LISTEN!
Sometimes the smallest things

make the biggest noise – and

Canton‘s new Reference 8 K

can certainly not be accused

of being closemouthed.

P
eople who are sensitive to esoteri-
cism sometimes claim that the soul
of a craftsman is reflected in his
products, so that one can read his char-
acter from them. Opinions on such teach-
ings might vary, but anyone who has ever
been able to listen to music with Canton’s
head developer Frank Göbl - we recently
had the pleasure - will soon understand
why the speakers, made near Frankfurt in
Germany, can do what they do. Nothing
better could have happened to us on this
rainy April day than to forget the grey
dreariness with a listening session lasting
several hours at “moderate” 120 decibels.
Mr. Göbl delivered his brand-new Ref-
erence 8 K that afternoon, which was pre-
sented just in time for the HighEnd. We
were given the opportunity to take an
exclusive look at them a few weeks before
all the trade fair hustle and bustle. Mr.
Göbl told us that, exceptionally, the 8K is
in a way a product specifically requested
by and made for retailers. The models of
the Reference series were so well received
there that they repeatedly called for a
small floorstanding loudspeaker, which
is priced between the compact 9 Series
(around 2600 Euro) and the 7 K (around
5200 Euro). And voilà: here it is!

Volume...
Of course, the new, almost one meter high
column cannot only play breathtakingly
loud. The bass and midrange drivers were

13 STEREO MAGAZINE ISSUE 18

 R E V I E W F L O O R S TA N D I N G S P E A K E R S

refined with tungsten instead of the alumi- In addition to the exemplary fluent and
CANTON REFERENCE 8K
num typically used by Canton. This allows agile playing style, we were particularly
them to form a huge stage even in whis- impressed by the superb stability of the Around 4000 €
per-quiet operation, while precisely posi- low bass reproduction, which reaches Dimensions: 26 x99 x36 cm (WxHxD)
Warranty: 5 years
tioning the instruments, always garnishing down to the 33 Hertz spheres: even at lev- Contact: Canton
them with some creamy and delicate tones. els near the limit, we could not elicit any Tel.: +49 6083 28730
With T+A’s PA 1000 E, everything sound disturbances, not even secondary www.canton.de
appeared extraordinarily three-dimen- noises from the bass reflex ports built into
sional and stimulatingly smooth. But why the foot of the 8K. This might be, in large Outstanding workmanship, excellent level
stability, melodious and round timbres as
should we bore you with such details? parts, due to the uncompromising design well as the rhythmical and captivating timing
The Reference 8K has unmistakably of the cabinet, which was adopted without make the smallest Reference floorstanding
been designed to give its auditorium pow- adjustments from the larger “Refs”. Inter- speaker a superb music companion, that
erful full-body massages. After working nal struts were used to additionally rein- masters entertaining as effortlessly as
our way through several listening-test CDs force the already sturdy sidewalls, while audiophile detailing.
to warm up, and having been quiet the top and bottom were designed to be MEASUREMENT RESULTS
impressed on the way, we ended up on extremely robust with a thickness of more
“N.I.B.” from Black Sabbath’s debut album than two centimeters. Each of the two
- a song that only unfolds its real magic faultlessly manufactured beauties receives
just below the mentioned 120 dB. We fired signals via a generously dimensioned and
it in a high bit version using T+A’s superb completely gold-plated bi-wiring terminal
MP 1000 E. Although the 8 K is a proper and weighs 30 kilograms.
dwarf compared to the top model 1 K
(around 22.000 Euro), it threw the accen- ... but classy!
tuated and impulsive chords of Tony Iom- Of course, volume isn’t everything. The
mis’ Gibson SG incredibly dynamic, lively real fascination of the new “little” Refer-
and with almost brute force to our chest. ence lies in its outstanding combination
Its efficiency of an impressive 87 dB on of fine detailing, a perfect sense for
T+A’s 220-watt amp probably played a rhythm and its unshakably clean repro-
major role in this spectacle. duction: while Mr. Iommis relentlessly
threw his crushingly heavy guitar riffs at
us, the 8 K managed with playful ease to
The solid gold-plated terminal of draw an incredibly deep and sharply out-
the 8 K. Note the opening between lined stage into the listening room. Ozzy
cabinet and base...  Osbourne’s voice stood irremovably in DC resistance 4Ω
the center of action, revealing filigree Minimum impedance 4,5 Ω at 440 Hz
details and that wonderfully warm, spher- Maximum impedance 9 Ω at 1900 Hz
ical echo effect that is characteristic for Sound pressure level (2,83 V/m) 86,2 dBSPL
many of the album’s songs. In the soli, the Power for 94 dBSPL 14,4 W
duplicated guitars scattered throughout Lower cut-off frequency (-3dBSPL) 33 Hz
the panorama seemed to break the bound- Distortion factor at 63/3k/10k Hz 1,0/0,3/0,1 %
aries of the stage. No less impressive was
the reproduction of electronic material LAB COMMENTS
such as the abyssal-low “Within You” of Everything is simply perfect: the impulse res-
Gus Gus’ superb album Arabian Horse, ponse is sharp, while the impedance curve
whose intelligently used compression and the largely linear frequency response
effects made our listening room pump. show no abnormalities. The voluminous
speaker reaches down to 33 Hertz and should
If you are looking for a speaker that can be positioned with appropriate distance to
make you forget space, time and every- the wall.
thing else around you, the 8K is a great
choice! And when the neighbors knock
on the door with torches and pitchforks,
just turn it up a little more – The Refer-
ence will thank you!
Carsten Barnbeck SOUND QUALITY 81 %
PRICE/PERFORMANCE

 ... This is part of the airflow

OUTSTANDING
concept of the reflective opening
in the bottom of the speaker.

14 STEREO MAGAZINE ISSUE 18

 Die Endstufe für höchsten audiophilen Genuss

Ausführlicher Test:
STEREO 11/2016

Finest Music Components

Handmade in Germany

www.accusticarts.de – Hotline: (07133) 97477-0

 REVIEW CD-DRIVES

DATA-PACKS
In light of the recent trend towards high-quality DACs for all
types of bit suppliers, the demand for pure CD drives has been
on the rise again. STEREO has checked purist drives of the
compact sort from Cyrus and Pro-Ject.

16 STEREO MAGAZINE ISSUE 18

 REVIEW CD-DRIVES

THE SMALL
DIFFERENCE
Of the two Cyrus drives, the manufacturer has „signed“ one.

What difference does it make?

O
n the first glance, they look like is in charge of the re-clocking. Cyrus was
perfect twins. On the front panel one of the first manufacturers to recognize
of one of the two CD drives, kept the sound-beneficial effects of a stable and  On the outside, the CD Xt Signature can only
in Cyrus’ typical brick design, there is, naturally oversized energy source, dedi- be recognized by its emblem in the upper right-
however, a “Signature” badge in the upper cated to a specific task. The optional “PSX” hand corner – and by the price tag of course.
right corner, and the price tag shows eas- power supplies for the players and ampli-
ily twice the amount of the smaller model, fiers have been legendary for decades. In
competing without this decoration. this case the developers have implemented So that was getting us nowhere. The
That’s all the external differences there their energy-strategy within the CD Xt showdown had to take place in the lis-
are. Both “Transports”, as pure disc drives Signature. tening room, where our warmed-up ref-
without integrated D/A converters are The advantages obviously lie in the opti- erence DAC Brinkmann Nyquist was
often called, offer a series of flat buttons mized internal processes, as in our mea- waiting for the confusingly similar test
and a yellow-green display. Below it is the surements on the coaxial digital output, objects. On this, but also on less high-
slot-in drive, which automatically retracts both drives performed practically equal, class DACs, the distinction was no prob-
the CD as soon as you insert it slightly with the bigger model outperforming the, lem at all, as the signature easily stood
beyond the edge. Though a few buzzing just as excellent, little brother in terms of out. It was, however, rather interesting
noises are audible from the drive while jitter only on the tiniest scale. The CDt how it managed to do that. In fact, the
reading in, it behaves quietly during play- was even slightly ahead in terms of speed difference is only incompletely described
back. That’s the way it’s supposed to be! deviation, although one to seven “parts with the term “increased resolution”,
On the rear side there is one coaxial and per million” deviation from the set speed because the CDt sounded almost as spa-
one optical digital output as well as two truly are peanuts! cious and detailed as the CD Xt
additional sockets for the looping through
of control signals in case a set of several
Cyrus components is operated. Included Cyrus‘ CDt gets its energy from a small swit-
upon delivery is an illuminated remote ching power supply. The CD Xt Signature
control including a useful numeric keypad additionally contains a separate toroidal
for direct selection of titles, while it can transformer for certain circuits of the digital
also do much more than just direct the section (see frame). ►
CDt or CD Xt signature.

Only equal in the lab

According to the British company, for the
Signature the effort for data selection and
processing were considerably higher.
While both drives supposedly generate
their data particularly precisely and unaf-
fected from background interference as
part of a process called “Servo Evolution”,
Cyrus wanted this to be driven to its peak
in the Signature, using comprehensive
measures for re-clocking. This should
ensure the precise chronological sequence
of the bits, which are, after all, read out in
real time during CD playback, thus reli-
ably avoiding the dreaded data jitter.
A technical hint is given by the toroidal
transformer, which is installed in addition  The illuminated system
to the switching power supply unit and remote control for Cyrus-Kom.
exclusively feeds the clock generator that

17 STEREO MAGAZINE ISSUE 18

 REVIEW CD-DRIVES

Signature. However, there were two sig-

nificant differences, as the latter defined CAMBRIDGE AUDIO BUILDS A WIDE ONE
voices and instruments more precisely
from their acoustic environment, sharp-
ened the edges around them and also
I n order to have a quality reference device for our four CD drives, the almost 530 Euro costing CXC
from Cambridge Audio was included. The CD drive with a 43 width features the S3 servo control
system, which has been optimized for audio purposes by the manufacturer. Cyrus’ equivalent is
provided a more precise front/back rela- called “Servo Evolution Technology” and
tion within orchestras. Thus the CD Xt Pro-Ject called it “Blue Tiger”.
Signature achieved more clarity and con- Available in black or silver, the
ciseness, while the CDt, in direct com- CXC impresses with its spaciousness,
parison, was hardly narrower, but some- lightness and transparency. With its
what more diffusely depicted, while e.g. rather soft bass it doesn’t quiet reach
guitars were not quite as physically and the contouring quality of other devices, which are, however, also often much more expensive .The
offered tenderness in voices makes it a surprisingly musical recommendation.
three-dimensionally outlined. In the
high-frequency range, the signature
offered a more precise definition, and the CYRUS CD T CYRUS CD T SIGNATURE
CDt almost seemed a bit over-polished.

The “Signature”-statement
However, the most striking advantage of
the high-priced Signature was its more
pronounced tonal intensity and dense-
around 1100 € around 2100 €
ness, which was expressed in more opu- Dimensions: 22 x8 x36 cm (WxHxD) Dimensions: 22 x8 x36 cm (WxHxD)
lent colors and a sturdier fundamental Warranty: 2 years Warranty: 2 years
tone, which thus more effectively sup- Contact: Cyrus audio Contact: Cyrus audio
ported the upper frequencies. Whereas +44 1480 410 900 +44 1480 410 900
the CDt painted with watercolors, the www.cyrusaudio.com www.cyrusaudio.com
larger drive, though not quiet using oil, Owners of a high-quality D/A converter or A CD drive made with expertise and finesse
at least paints with opaque gouache pens. a good DAC in the amplifier can confidently in all digital matters. Thanks to the efforts,
In “Secret O’ Life” James Taylor, there- entrust the „CD data collection“ to the smal- the „Signature“ version of the simpler
fore, not only had the more sonorous but ler of the two Cyrus „transports“. The CDt Cyrus drive is, although the measurements
also a more intimate touch and an emo- makes the music sound three-dimensionally could lead to a different conclusion, clearly
tionally superior appeal to it. and homogeneously. We recommend not to superior in sound quality which justifies the
save on the digital cable. extra charge.
Liza Minelli’s lively, attacking “Old
Friends”, which tends to be slightly MEASUREMENT RESULTS MEASUREMENT RESULTS
squeaky and intrusive, moved away fur- Jitter 2.5 ns Jitter 1.8 ns
ther from the “danger zone” if read by the Deviation from fs -1 ppm Deviation from fs -7.7 ppm
Signature, while also offering more sub- Amplitude of the data stream 420 mV Amplitude of the data stream 410 mV
stance. Having heard it for an extended Read-in time 7s Read-in time 7s
period of time and then changing to the Information track disturbances 0.5 mm Information track disturbances 0.5 mm
CDt under otherwise identical conditions, Surface disturbances 0.6 mm Surface disturbances 0.6 mm
one misses some expression, energy and Power Consumption Stby./idle (with) <2 W/3.3 W Power Consumption Stby./idle (with) <2 W/3.7 W
subliminal “feeling”.
LAB COMMENT LAB COMMENT
Of course Cyrus’ CDt is a really good
CD drive that works brilliantly in many The Cyrus CD t provides best values for The „target speed“ is maintained exactly,
systems, but the Xt Signature goes beyond sampling rate and jitter at the digital output. resulting in a very small deviation from the
The scanning reliability could be better. The specified scanning frequency. Pleasingly
that, sounds more high-end and more error correction seems to be designed weakly. low jitter.
mature - for a big extra charge, of course.
FEATURES FEATURES
One coaxial and one optical digital output One coaxial and one optical digital output
each; automatic repeat, program functions each; automatic repeat, program functions
and switchable time displays via the illumi- and switchable time displays via the illumi-
nated remote control nated remote control

SOUND QUALITY 75 % SOUND QUALITY 82 %

PRICE/PERFORMANCE PRICE/PERFORMANCE

 The identical looking back of the Cyrus VERY GOOD VERY GOOD
drives offers only a few connections.

18 STEREO MAGAZINE ISSUE 18

 REVIEW CD-DRIVES

ONE PUTS
A LID ON TOP
The two CD drives offered by Pro-Ject are entirely different on

all levels: technically, in price and also in sound.

T
he Austrian manufacturer Pro-Ject The entry is the new CD-Drive DS2T,  Pro-Ject‘s CD-Drive DS2T is also
is known for its unique and clever which costs nearly 580 Euro in black or available without wooden side
components in compact design. silver. If you wish, you can give the “data panels, then costing 580 Euro.
Convincing sound like from high-quality package” a more homely appearance by
technology, but without expansive cabi- means of wooden side panels available in
nets is the goal. The trend towards central three versions (walnut, eucalyptus, rose- available for seamless integration into
D/A converters, either as stand-alone wood), costing 100 euros each. The DS2T complete Pro-Ject chains. With regard to
devices or as part of pre- or integrated pulls the discs through a narrow gap into the digital outputs, the DS2T offers, addi-
amplifiers, is being pursued very consis- its slot-in drive and displays the number tionally to the usual coaxial and optical
tently. Consequently, Pro-ject makes, of titles as well as the running times in ones, an AES/EBU socket for balanced
additionally to “streaming”, “media” and large, illuminated dot matrix letters, which data transmission, which is rare in this
“Bluetooth boxes”, two purist CD drives are easy to read, even from a distance. price range.
for all the silver disc fans out there – and “Trigger” inputs and outputs for the This socket is of course also part of the
they could hardly be any more different. transmission of control signals are interface-arsenal of the larger CD Box RS.

 After inserting the

disc into the CD Box RS,
it is fixed with a puck.
Then the heavy lid
comes on top.

19 STEREO MAGAZINE ISSUE 18

 REVIEW CD-DRIVES

For connection to Pro-Ject components

having the corresponding feature, there RCA OR XLR?
is also a high-precision I2S interface built
via LAN cable. The CD Box RS also has a
text display that can be switched in the
I n order to experience the CD drives in top form during the listening tests, we mainly used the
new „Suprema“ digital cables from the German specialist HMS, which are sinfully expensive but
also devilishly good. We used them as coaxial cinch and XLR versions, the latter leading the data
background color and repeat and shuffle stream symmetrically (1 meter around 990/1090 Euro).
functions that the smaller model lacks. This proofed again what we had already learned from identical cable types from other manufactu-
The highlight, however, is the CD port of rers, namely that it is above all the quality of the cable that determines the result and not the type of
the top loader which is closed by a solid connection. At least as far as „electrical“ processes are concerned. We only briefly checked
metal lid. After inserting and fixing the the connection with optical cables, as they are less recommended due
to their limited bandwidth. In any case, even a high-quality
disc with a small, magnetically held puck,
optical strip was clearly inferior to the HMS cables.
the CD Box RS, which is btw. also avail-
able in black, is closed like a pot.
The Austrians are particularly proud to
point out that in their CD Box RS they PRO-JECT CD BOX DS2T PRO-JECT CD BOX RS
have used a thoroughbred CD drive from
the specialist Stream Unlimited to addi-
tionally promote its performance, instead
of a multimedia/DVD drive, which is
often used at this point.
from 580 € around 1050 €
Different in character (available in silver and black, wooden (available in silver or black)
To achieve the best possible sound, it is side panels in three veneers plus 100 €) Dimensions: 21 x8 x21 cm (WxHxD)
absolutely necessary to connect the out- Dimensions: 21 x7 x19,5 cm (WxHxD) Warranty: 2 years
Warranty: 2 years Contact: Pro-Ject Audio Systems
sourced power supply of the CD Box RS Contact: Pro-Ject Audio Systems +43 1 544 858 0400
to the power outlet in the correct phase. +43 1 544 858 0400 www.project-audio.com
This fact also plays a minor role for the www.project-audio.com
DS2T, but a decisive one for the larger Thanks to its proper CD drive and precise
model. If the Euro plug is placed the Pro-Ject’s small CD-Drive has a very quiet, data preparation, the top loader makes the
reliably working drive and lets the music music sound spatial, detailed and structured.
wrong way round, it lacks some of the sound agile, crisp and homogeneous. A great The fourth star has been given for the rich
finesse and serenity that the CD Box RS partner for dedicated separate DACs or DACs equipment including a great display and the
is capable of. integrated into amplifiers for those who value elaborate workmanship..
good CD sound.
MEASUREMENT RESULTS
TEST-COMPONENTS MEASUREMENT RESULTS Jitter 1.5 ns
MULTIPLAYER/DAC: T+A MP3100HV Jitter 1.8 ns Deviation from the fs +49 ppm
D/A CONVERTER: Brinkmann Nyquist, Deviation from fs -38 ppm Amplitude of the data stream 674 mV
MBL 1511F, T+A DAC 8 DSD amplitude of the data stream 650 mV Read-in time 6s
INTEGRATED AMPLIFIER: NAD D3020 Read-in time 6s Interference in the information track >0.9 mm
PRE-/POWER STAGE: Interference in the information track >0.9 mm Surface interference >0.9 mm
Accuphase C-2450/A-47 Surface interference >0.9 mm Power Consumption Stby./idle (with) <2 W/4.5 W
Power Consumption Stby./idle (at) <2 W/2.6 W
SPEAKERS: B&W 800D3, DALI Epicon 6, LAB COMMENT
Dynaudio Special Forty LAB COMMENT
Very low jitter at the digital output and a neg-
CABLE: HMS Suprema
Very low jitter at the digital output and a neg- ligible deviation from the nominal frequency
(Coaxial & AES/EBU) ligible deviation from the nominal frequency are accompanied by good sampling capability
are accompanied by good sampling capability in the event of interference.
And that would be a pity, because Pro- in the event of interference.
FEATURES
Ject’s “big” mini-drive pleases itself in the FEATURES
role of the precision worker, conveying TThree digital outputs in coaxial, balanced
Three digital outputs - coaxial, balanced, and optical technology, bright, color-switcha-
tiny details, while at the same time keeping optical, high-resolution dot-matrix display, ble and CD-text-compatible display, external
an eye on the big picture. In doing so, it external power supply, remote control with power supply, mini remote control, repeat
relies on a calm, orderly and clear presen- numeric keypad. and shuffle functions .
tation of the musical events. While the
DS2T e.g. with DelaDap’s “Crazy Swing”
bubbles up and spreads a party mood, the SOUND QUALITY 68 % SOUND QUALITY 75 %
CD Box RS shows a more clarified char- PRICE/PERFORMANCE PRICE/PERFORMANCE
acter despite all the joy of playing. It allows
the musical events to take a step back, VERY GOOD EXCELLENT
expands the stage of the per­for­mances in

20 STEREO MAGAZINE ISSUE 18

 REVIEW CD-DRIVES

every direction and makes music with a CD DRIVES - DATA PACKS WITH EUREKA-EFFECT
much more structured and minimally
cooler diction. The DS2T’s gripping attack, music from each drive was always at exactly the
on the other hand, was highly appealing, MATTHIAS BOEDE
same volume, as the connected D/A converter
determines the level.
but at the same time a little immature. It special tasks
What then came to our attention was definitely
rendered Brian Flanagan’s soulful “Flow- worth hearing. And exciting! Who believed that
ers In The Window” pleasantly full-bod- the contest would be fought somewhere in the
ied, but after the change to the CD Box RS depths of audiophile perfectionism, as digital
the stage opened up and there was con- data, after all, remains digital data, saw them-
siderably more air in the performance, selves pleasantly disappointed and surprised.
which, not least for this reason, appeared While the inexpensive Pro-Ject drive already
more diversified.
W hy buy a complete CD player with inte-
grated D/A-converter and output stage
when you are already operating an external DAC
delivered very good results, that is convincing
sound, both its big brother, designed as a top
loader, and the simpler of the two Cyrus drives
Upsampling makes it perfect
And the more expensive data transmitter for the many bit-providers of the modern media clearly set themselves apart from it. These two
world? Then, all you need is a pure drive that fought a battle at eye level, whereby the Pro-Ject
still has an ace up its sleeve in the form of
reads the data from the silver discs, which many was always one step ahead in terms of the
its switchable sampling rate. Pressing the listeners don’t want to miss, even in times of offered lightness and fanning out of the sound
“Mode” button on the flat remote control, downloads and streaming. There aren’t a lot of images. The performances of the Cyrus CDt, on
whose numeric keypad means that the them out there, but STEREO has found four highly the other hand, always offered a pinch more
toggle switches on the thick metal front interesting CD drives from Cyrus and Pro-Ject, warmth and emotionality in its expression. This
panel are rarely going to be used, the Pro- whose characteristics were sometimes really certainly touches on individual taste preferences.
Ject, made as solid a small safe, doubles astonishing. The most expensive CD drive, however, out-
the 44.1 kilohertz specified by the CD During the listening tests it was easy to forget performed the others by far. When after a short,
standard, then indicating “88.2 kHz” at that we were not hearing complete players, but slightly faded piano intro in Brian Flanagan‘s
the top of the display. Promptly, our D/A pure data suppliers. First of all, every drive revea- „Whole Lot Of Livin‘“ the singer suddenly stands
converters confirmed the upsampling by led its individual audiophile fingerprint, similar to strikingly and crystal-clearly outlined between
a normal CD player. And secondly, it left its mark the loudspeakers, no other drive could achieve
also synchronizing to this frequency.
on the entire chain of devices that followed. the stupendous immediacy and physical three-di-
The tonal advantages of this method, in Such results would not necessarily be expected mensionality with which Cyrus‘ CD Xt Signature
which intermediate values are formed and from devices that „only“ read out bits from the made the bard appear abruptly before the diffuse
phase errors are avoided due to later CD, process and forward them, i.e. neither are background.
applied filters, were particularly evident entrusted with digital/analog conversion nor So the subject of CD drives is not a boring one,
in a more relaxed, more homogeneous equipped with an analog output stage. but one that captivates the listener. This is also
midrange. Without upsampling, Flana- It was beneficial for the comparison that the possible without internal DAC and analog stage.
gan’s Irish bagpipe sounded overly whiny,
indeed having a “pressed” note. This,
however, dissolved into pure pleasure by
switching to “88.2 kHz”, which can even to its already skillful performance. Simpler to medium sized hi-fi systems. The more
be done while playing. equipment may react even more gratefully elaborate “RS” version, however, gets
Give it a try, a push of a button is all it to the higher-frequency dataflow than our audibly more information from the CDs,
takes. You will, then, certainly also be sophisticated reference devices. and is therefore recommended for higher
using the CD Box RS in upsampling The CD Box DS2T thus qualified as an purposes and finishes off the concept son-
mode, which adds the finishing touches absolutely capable data supplier for small ically.

 As a special feature,
both CD drives offer a
balanced digital output in
addition to the standard
optical and coaxial ones.

 These flat mini remote

controls belong to the DS2T
(l.) and RS CD boxes.

21 STEREO MAGAZINE ISSUE 18

 Brinkmann Audio Marconi Mk II
The New Classic

Photo © MichaelRasche.com 2018

In an industry where products often change like fashion, Marconi has defied
obsolescence, remaining relevant for more than 15 years and becoming a High
End classic. Now, Brinkmann proudly announces Marconi Mk II, destined to define
a new standard of sonic excellence.
The “Mk II” redesign required two completely new Printed Circuit Boards and
hundreds of hours of painstaking fine-tuning have yielded an instrument that
communicates music with greater realism, enabling closer connection between
system and listener.
Owners of the original Marconi can upgrade their unit to the Mk II standard.

"The World's Finest Turntables ... and more!" brinkmann-audio.com

 HIFI EXCLUSIVE ACTIVE LOUDSPEAKERS

ALREADY
THERE

23 STEREO MAGAZINE ISSUE 18

 HIFI EXCLUSIVE ACTIVE LOUDSPEAKERS

Progressive Audio boss Koenen waited patiently until

someone could build him a chassis according to his wishes –

and then equipped the Extreme 1 Active with it.

W
ord has got around that Ralf volume levels and that all subtleties will
Koenen does not rely on com- remain audible right up to the limit of the
mon solutions off the shelf, speaker’s capacity without compression
but likes to tailor his products by hand effects – an assessment that we can con-
– with more than considerable success. firm without hesitation after days of lis-
The new Extreme 1 Active is no exception, tening sessions. Naturally, the path to
but quite the opposite. sound enjoyment leads through technol-
ogy, but it is of no use if the ear isn’t
From Seas for Progressive granted the final say during development.
The coaxial chassis, consisting of a large Let’s still take another quick look at what
magnesium diaphragm for the mid/low makes good sound possible from a tech-
 Progressive audio further frequency range and a fabric dome nical perspective: the active crossover was
optimizes the chassis supplied tweeter for the treble at its center, is, not built up digitally and equipped with
by Seas via active crossovers. however simple it may seem at first DSPs like elsewhere. Koenen rather relies
glance, a small technical masterpiece. on a purely analog filtering with 18 dB
With a series accuracy of 1% exclu- edge steepness and so-called “Butterworth
sively manufactured by Seas for Koenen, filter characteristics”.
the chassis has been fitted a voice coil The two symmetrically driven class-D-
with an especially long stroke. In addi- power amplifiers each deliver 100 watts
tion, the Essen-based craftsman has and have a very compact design. If you
pimped the already ingenious want to give the high fre-
piece of technology a consid- KEYWORD quency range a little kick, you
erable bit further for the active Butterworth filters: can slightly increase it by 1 dB
version. Filter in which the using the toggle switch.
frequency response
With his active model, has an even (smooth) Should a grounding problem
Koenen makes skillful use of response in the pass- occur, the ground lift switch
the concept’s potential by band as well as in the helps to interrupt the loop
stopband.
actively equalizing the already without compromising elec-
good and linear frequency trical safety. The speaker pro-
response of the driver, while at the same vides connection to the sources via RCA
time successfully fighting residual reso- or XLR sockets, whereby Koenen uses an
nances and reducing the distortion to extremely high-quality and broadband
impressively low values, even on louder- input transformer from his own produc-
than-usual levels. The dynamic scope is tion, which is to operate linearly up to
therefore even wider than in the passive 100 kHz. The “current coupling technol-
version. ogy with galvanic isolation of the input”
As expected, the Extreme 1 Active has, should result in a low and even load on
fortunately, not become a disco-speaker. the connected sources. Problems such as
This gem is made to forget the technology capacitance, inductance and a constant
and devote oneself entirely to the music. characteristic impedance, which Koenen
 Extremely broadband trans- Company director Ralf Koenen promises believes are widely underestimated for
former meets Class-D-Amp – that a realistic bass and fundamental the elimination of reflected and stray cur-
without generation conflict. range will be reproduced even at low rents, are a thing of the past. As a result,

24 STEREO MAGAZINE ISSUE 18

 HIFI EXCLUSIVE ACTIVE LOUDSPEAKERS

PROGRESSIVE AUDIO
EXTREME 1 ACTIVE
around 6900 €
(stand + 720 €, in black or white available,
other colors on request for an extra charge)
Dimensions: 19 x40 x35 cm (WxHxD)
Warranty: 2 years
Contact: Progressive Audio
the sound image is to become signifi- from each other in the room. Bass runs Tel.: +49 20 54 9 38 57 93
cantly more precise and “acoustic ghost were easy to hear through and structured, www.progressiveaudio.de
images” are to be eliminated. details could be clearly discerned right
The acrylic cabinet is specially baked down to the reverb and the slight hum- A cleverly designed active loudspeaker with
and pressed as well as trimmed for low ming of a musician in “Tangerine”, compact size that plays absolutely convin-
cingly. Versatile and living-room suitable, it
resonance with various struts. The option- whereby the illustration even reached depicts every kind of music extremely spati-
ally available and fillable stand has gone beyond the base width. ally and emotionally gripping. A highlight far
through the same production process. beyond its price range.
Koenen has subordinated everything Only dainty from the outside MEASUREMENT RESULTS
to the goal of making a loudspeaker In “Bittersweet Samba” the presentation
which, due to an exact time/impulse convinced with the gripping mediation
behavior, completely fades into the back- of the finely woven rhythm structures.
ground and lets the music unfold freely You have a soft spot for voices? Then I
but precisely focused in the room. How- don’t have to say much about Ella Fitz-
ever, two important conditions should gerald. The live-recorded 68’ album
absolutely be fulfilled: the cover, which “Sunshine Of Your Love” shows the
is actually more of a transport guard for exceptional artist with an enormous
the noble chassis, must be removed and range: orchestra on side 1, where she
an isosceles triangle should be formed presents herself in the title song as a real
between the speakers and the listener. power woman who screams her soul out
The frequency response suggests a par- of her body, full of energy, presumably
allel alignment of the speakers for max- having been a role model for Janis Jop-
imum tonal balance, but in practice also lin’s development of her own style. Fitz-
angling to the listener was an alternative gerald’s size and body volume are very
– just try out what suits your personal well perceivable and are credibly pro-
preferences, as both variants have their jected into the room, the soul-feeling
appeal. carries you away.
Mrs. F. then also shows the variability
Lower cut-off frequency (-3dBSPL) 41 Hz
The environment of her voice on side 2, where she plays
Distortion factor at 63/3k/10k Hz 1/0.3/0.3 %
We chose our reference preamplifier with the Tommy Flanagan Jazz Trio. In
Power Consumption Stby/empty. (at) /7.5 W
from Accustic Arts, which was supplied “A House Is Not A Home” she is some-
with music and power symmetrically via times airy, sometimes seductive and las- LAB COMMENTS
Audioquest cables from T+A’s outstand- civious, sometimes energetic, then again
Frequency response balanced below 30°;
ing player 3100. The passing on of the whispering, here strong, there weak; she very deep for the size. Distortion values
signals was also done by the US cables, shows why she is considered being per- low. First-class step response. Remove cover
while the speakers were powered by haps the best jazz singer of all times. during operation! Installation tip: isosceles
cables from Essen.We then built up the With Lincoln Mayorga & Collegues a triangle, slightly angled.
little speakers in the 40 m2 listening room direct-cut jewel lay on the great Technics FEATURES
and marveled at how elegantly they moved turntable. The advantages of this record-
Coax chassis, XLR and RCA connectors;
through the test. ing technique, such as explosive and
automatic power-on, ground lift switch,
The first obstacle was Herb Alpert’s immediate dynamics and the live inter- tweeter adjustment +1 dB switchable;
classic “Taste Of Honey”, but the Progres- action of all musicians, come into their optional stand
sive Audio surmounted the hurdle of spa- own here. When Jim Keltner works on
tial representation, attack and tonal neu- his drums on “America” from the “West
trality with ease due to its mixture of air- Side Story”, the last bit of pressure from
iness, power, cleanliness in all frequency the drums might be missing, but still it SOUND QUALITY 95 %
ranges and a never annoying, fully natural is absolutely gripping, because the struc- PRICE/PERFORMANCE
and warm sounding style. The stereo pan- ture of the reproduction is convincing
orama was wide-ranging, yet all the musi- - like the whole loudspeaker. EXCELLENT
cians were finely divided, clearly separated Michael Lang

25 STEREO MAGAZINE ISSUE 18

Lebenslänglich

www.mbl.de
 R E V I E W I N T E G R AT E D T U B E A M P L I F I E R S

NOT A POSER
anymore or a tube is defective, the clever
amplifier switches off in order to prevent
possible further damage to the device, and
signals this with a red LED.
It is an archetypical American. So it’s all about standing out? Only
Features and options
at first glance, because behind the imposing appearance of the VAC On the rear, our VAC has one XLR and
three RCA inputs, one of which has been
170iQ hides clever, detailed and in part very filigree technology. optionally equipped with a switchable
phono stage for MM and MC systems.
The impedances for the quiet MC systems

W
hen I met Kevin Hayes, head and then ask ourselves whether there is can be adjusted in three stages at the top
of development and owner of not already a (too) large selection of alter- of the VAC; switching between MM and
the American amplifier man- natives in this price segment, and what MC is done here as well. Additionally,
ufacturer VAC – the abbreviation stands special features the Sigma 170 iQ has to there are outputs for connecting a power
for Valve Amplification Company – at a offer in order to gain a position in com- amplifier or a subwoofer as well as a loop-
trade fair in the USA a few years ago, he peting with the top dogs as well as the through option for home cinema fans on
pleasantly surprised me: in the midst of exotics. From the outside, a more than the rear. The feature-package is rounded
all the hustle and bazaar-like competition, solid touch quality and the considerable off by the various taps for speakers. In
he was able to impress with quietly, com- weight provide a first impression that any case, it is worth experimenting with
petently and with gentle humor stated inspires confidence. all three options between four and 16
remarks about his tube amplifiers. It left The VAC is not an equipment-miracle, ohms to get the optimal sound. All sock-
me with a slight sadness as I went on, but it is still surprisingly versatile. Four ets are solid and of high
because as high quality and tempting as LEDs on the front panel show whether the mechanical quality. For the
the amplifiers were, a test was out of the power tubes are working without prob- sake of completeness, a
question, due to the lack of a German lems and whether the “iQ circuit”, which mute switch on the front
importer at the time. Fortunately this has is still to be explained, can perform its and a plastic remote control
changed since this year’s HighEnd. function of bias control and adjust- for volume and muting are
We decided on the entry-level model ment. As soon as the bias control to be mentioned in terms of
of the current product range: an inte- recognizes aging tubes, but can still equipment, as well as the
grated amplifier, which will cost around readjust their operating points to
11,000 euros at your trusted dealer. such an extent that they work
This is certainly a price range where properly, a green LED lights  The plastic remote control is simple in
most of us have to first take a deep breath up. Only when nothing works design: loud/quiet, muting – that’s it.

27 STEREO MAGAZINE ISSUE 18

 R E V I E W I N T E G R AT E D T U B E A M P L I F I E R S

◄ A rather wild looking mix of boards

and some cables. The quality of the
components is consistently high.

fitting their budget and subsequently mov-

ing with the result into the measurement
lab to have the correctness of their theo-
retical considerations confirmed. Various
inconsistencies on the measuring bench
can then be smoothed with manageable
effort. Only then the resulting product is
heard, and when satisfied, it goes into pro-
duction. At VAC they don’t take the easy
route. Once the concept is in place and
initial audio samples have been successfully
completed, components in some assem-
blies are selectively replaced. This process
is then repeated until they are sure to have
achieved the best possible sound within
the given limits. A time-consuming pro-
cess, yes, but assuming that people with
trained ears work at VAC, a promising one.

The thing about the bias

The special feature of the VAC bias cir-
cuit is that it takes into account the qui-
escent current in real time even with
exchangeable power cable – an option control, using a selected, motor-driven, changing heat conditions of the tubes,
that one should consider very seriously blue Alps potentiometer. Inspired from his varying mains voltage, different volume
in order to be able to fully exploit the listening experience, it sounds better this levels and even aging tubes, i.e. further
sound potential of this amplifier. way than with any electronic solution he parameters than just measuring the tube
One of the points that astonished me has heard so far. You believe him all the once in idle mode without music. This
again when I met Mr. Hayes this time, was more after realizing that even in his most system was patented by Hayes, who
his completely non-dogmatic handling of expensive preamplifiers a potentiometer is founded his company in 1990. The most
the way he conceived his amplifiers. used – although it is one that costs him attractive effect of this system, besides
It doesn’t have to be a specific tube, and almost 1500 dollars in purchase. Please an always optimal sound, is a signifi-
especially not a hyped one like the KT 150. don’t ask me, which amount changes the cantly longer lifetime of the tubes.
Four Russian KT 88 Gold Lion are used in owner for the complete preamplifier...
the iQ 170, which are tested, measured and Large caliber
matched according to various parameters Components are heard If an amplifier is in the five-digit price
at VAC. He doesn’t even think much of There are quite a few developers in the hi-fi range and is not explicitly recommended
the war of faith about the effect of a nega- world who design their products on a com- by the manufacturer for very specific loud-
tive feedback loop; he gives all his creations puter, ordering components in the quality speaker concepts, it must prove itself on
a low dose of this distortion-reducing med-
icine. Perhaps you have already heard that
point-to-point wiring is supposed to be
superior to a PCB-equipped solution?
Here, again, Hayes keeps both feet on the
ground. Besides some neatly equipped
boards there are also various cables inside
the 170er, which appear quite random in
their course. The American also shows his
pragmatic side when it comes to volume

Solid rear panel jacks and separate taps for spea-

kers with four, eight or 16 ohms nominal impe-
dance that can be safely tested. ►

28 STEREO MAGAZINE ISSUE 18

 R E V I E W I N T E G R AT E D T U B E A M P L I F I E R S

control over loudspeakers will be taught

VAC SIGMA 170I iQ
better with the VAC 170 once more. A
damping factor in the three-digit range from 10990 €
indicates from lab-sides what is possible (Phono MM/MC optional, 1590 €; XLR
input 890 €; Glass tube cage according
in terms of sound. The floating elegance
to CE standard: 890 €)
with which even exhausting pieces such Dimensions: 46 x21 x48 cm (WxHxD)
as “If I Only Could” by the Blues Com- Warranty: 2 years
pany are blasted into the room without Contact: Valve Amplification Company
sounding either vulgar or unclean, make +1 941 952 9695, www.vac-amps.com
even experienced and powerful transistor The US tube specialist is celebrating an ext-
competitors sweat – and the listeners pon- remely strong debut on the German market
der. Doug MacLeod’s “Rosa Lee” sounded with this outstanding integrated amplifier,
intense, rhythmically precise and grip- which drives even sophisticated loudspea-
ping, in the bass with the right mix of kers without any problems. Excellent optional
punch, accuracy and swing. At outside phono stage.
temperatures of almost 30°, Lyn Stanley’s MEASUREMENTS RESULTS
story about “A Summer Place” sounded
more comprehensible than ever.
But even in pop and rock the VAC
wasn’t shaken by anything, even at high
levels that the B&W as well as the DALI
 The Class A phono stage is completely imple- Epicon 6 are easily capable of. Good pop
mented as a triode circuit, sounds excellent and music, usually not known for ingenious
is amplified for MC systems by an extremely recording techniques, got under your skin
high-quality and low-noise transformer by 20 dB. e.g. with Eurythmics.
Joe Bonamassa, this time on the road
Continuous power (8 Ohm / 4 Ohm) 64 W/62 W
live with interpretations of English blues
Pulse power 4 Ohm (1kHz) 80 W
common, high- or highest quality loud- legends at the “Old Royal Naval College”,
THD at 50mW/5W/1dB Pmax 0.08 %/0.1 %/0.2 %
speakers – in this case, amongst others, on rushed tirelessly over the guitar strings to
one of our references, the 800 B&W. underpin his claim to the title of “Speed- Intermod. 50mW/5W/1dB Pmax 0.08 %/0.1 %/0.2 %
After a fitting break-in time of almost master”. The VAC managed to breathe Signal to noise ratio at 50mW/ 5W 63.7 dB/80.2 dB
100 hours in the listening room, already soul into the slightly towards the sterile Intoxicating. Phono MM (5 mV for 5 watts) 70.1 dB(A)
the first notes revealed that there was not and technical tilting music and to convey Signal to noise ratio Phono MC (0.5 mV for 5 Watt)
only someone who knew his trade, but that the audience was completely enthu- 68.7 dB(A)
who was a proper sound artist at work siastic despite or perhaps precisely Attenuation at 4 Ohm (63Hz/1kHz/14kHz) 66.3/50/142
here. The lightness with which Johnny because of the current guitar superstar’s Upper cut-off frequency (-3dB/4Ohm) >80 kHz
Cash’s “One” was projected into the room love of technique. Just like we were of the Crosstalk Line 1 > Line 2 70.2 dB
was extraordinary. And because the STE- VAC iQ 170. Synchronization error Volume at -60dB 1.2 dB
REO Listening Test LP II caressed our Michael Lang Power Consumption Stby/idle (at) /215 W(223.5 volts)
ears so fascinatingly via the very low-noise
but all the more powerful phono stage, LAB COMMENTS:
using the Transrotor Rondino Nero with Solid toggle switches for Good performance, low
AC phasing
the in-house Figaro pickup, we left aside on/off, muting and home distortion, low noise,
on test unit
the digital sources almost entirely. cinema function, each high bandwidth and
Those who claim tube amps had no indicated by an LED. ▼ an enormous attenuation factor for a tube
amplifier.
FEATURES
Four inputs, one with optional Pho-
no-MM/-MC; XLR input at extra charge;
Pre-Out, home cinema loop; remote control;
fully automatic bias control.

SOUND QUALITY 98 %
PRICE/PERFORMANCE

VERY GOOD

29 STEREO MAGAZINE ISSUE 18

COAX 711
TOP PICK: »This floorstander from Switzerland boasts
one of the most impressive drivers in all of high-end
audio: a coaxial ribbon of PIEGA’s own design and
construction. Mounting a ribbon tweeter inside a ribbon
midrange gives this driver perfect coherence no matter
what the listening position or height.«

Robert Harley, The Absoute Sound,

Buyers Guide to Loudspeakers 2018

GO fOllOw us:
facebook.com/PiegaSwitzerland
@piegaswitzerland

PIEGA SA . Bahnhofstrasse 29, CH-8810 Horgen, Switzerland . mail@piega.ch . phone +41 44 725 90 42 . WWW.PIEGA.CH
 BASICS STREAMING-NETWORKS

PLUG IN ...
AND READY?

Believing the advertisement of many manufacturers, building a streaming net-

work is easy. In reality it often turns out to be different: abbreviations, sinister

TCP/IP addresses and obstinate technology spoil the fun. We explain all the

necessary basics and show you how to avoid demotivating pitfalls.

I
t’s been exactly ten years since the Together with their streamers, the Scots page 16), and streaming in the local home
streaming age hit us: in August 2008 brought us a box full of WLAN routers, network faced competition from web-
we presented all Linn network players switches, LAN strips, a “PDA” (the Neo- based subscription services. Many things
“en bloc” and, at the same time, had T+A’s lithic ancestor of the tablet) and a small are smoother nowadays, especially the
E-Series with the network-compatible box called “NAS”. Many of these were controls. However, some things have
“Music Player” in the editorial office. A unknown to us, and it took us some time remained the same, as for example that
shock! Not only because Linns Klimax DS to get a grip on the equipment. Since then, newcomers are faced with a mass of
ranked among the best sources we had the technology has done some huge evo- abbreviations and computer terminology.
heard up till then, but also because we lutionary leaps forward. Sound formats We want to clear up this mess on the fol-
were rather clueless for the first days. such as DSD and MQA were added (see lowing pages.

31 STEREO MAGAZINE ISSUE 18

 BASICS STREAMING-NETWORKS

THE HEART OF THE CHAIN

The central term is “streaming”, which
describes all forms of signal transmission.
No matter if you are sending binary data
across the network or copying image and
video files from a USB stick to your com-
puter, these are all variants of the same
technology. In a HiFi-environment, the  A typical streamer: Cambridge Audio‘s CXN V2 uses the UPnP network-standard. Other
executing device is, of course, the streaming devices recognize it automatically and interaction is possible without the user
streamer. While the Anglo-Saxons also having to type in cryptic addresses anywhere.
call it renderer (in the meaning of “trans-
lator”), the pseudonym “network player”
has become established in Germany. At first he will limit himself to teaching all the necessary devices into his router
However, this is only partially correct. Of his boys or girls basic terms such as “for- via a LAN cable. The network distributor
course, the network plays a decisive role, ward”, “to the left” or “you’re offline, now briefly takes control, processes each
but the streamer is first and foremost a damn it”. UPnP is like this trainer: it’s a device individually and assigns it a net-
media player that transfers formats such set of basic instructions that work address that is permitted
as FLAC, WAV or MP3 into S/PDIF sig- cover all situations of device KEYWORD according to its TCP/IP pro-
nals that can be processed by the D/A con- interaction. Far too extensive, SWITCH: tocol (see box). If the stream-
verter. Whether it gets the data from the said a consortium around Sony Anetwork switch expands the
with additional
er’s remote control app is then
network, gets it sent via Bluetooth from a and Intel in 2003 and restricted LAN connections. started it should find the net-
smartphone or loads it from a USB stick, the commands to the DLNA Unlike the router, it work player.
doesn’t matter for now... standard (Digital Living Net- cannot assign TCP/IP
addresses or perform
However, you won’t be able
Either way, the streamer depends on work Association). DLNA is comparable administ- to hear any music yet. As it was
data providers. In order to be able to com- therefore nothing else than a rative tasks. said above, the streamer
municate with them, there must be a uni- multimedia summary of the depends on a musical data sup-
versal “language” that all devices under- UPnP instruction set. And it works per- ply. Typically, a NAS (Network Attached
stand. It was developed under the name fectly: if you only have DLNA devices, the Storage) is used, though also Windows,
UPnP (Universal Plug and Play) already HiFi network often even works a bit faster macOS or Linux computers could take
in the eighties and is valid until today. Just and more stable. over this task. A NAS is, however, perma-
imagine a football coach, who is assigned Thanks to this standardization, all the nently dormant in power-saving standby
to train players from all over the world. user actually has to do himself is to plug mode, only waking up on request of the
streamer, within seconds. Desktop com-
puters are far hungrier for electricity and
also slower. NAS drives save further
IMPORTANT BASICS: WHAT IS TCP/IP? power with their comparatively modest

T he two abbreviations stand for the Trans-

mission Control Protocol (TCP) and the
Internet Protocol (IP). Their current foundations
network address to connected devices and to
communicate this to all other participants. If
DHCP has been activated for all devices (which
processors, which are still fast enough to
provide several network players with
music at the same time.
date from the seventies and even if you don‘t is nowadays standard in the factory state), the
know what the abbreviations mean, you have user is off the hook. However, this raises a new WHERE TO PUT THE DATA?
most likely already seen the corresponding problem, because occasionally one needs this Feeding of sound formats is fairly simple:
addresses. These protocols assign network important address. There are different ways
under Windows, NAS drives can be con-
participants identification numbers according to find it out: in the menu of many streamers
to the pattern 192.168.xxx.xxx, whereby the there is a tab called „Network Status“ (or
trolled in the Explorer like directories of
first two digits are basically always identical similar) where you can access the sequence the computer. You can find them on the
and originate from a nerdy joke. These addres- of digits. If you open Windows Explorer and left in the navigation column under “Net-
ses work like telephone numbers and must select the „Network Environment“ in the navi- work”. Apple users must select “Go to >
be unique in the home network: if you, for gation column on the left, all active devices are Connect to server” in the Finder bar and
example, assign 192.168.0.101 to your NAS, displayed in the main window. Right-clicking on enter the address of their NAS. The ripped
you can enter this sequence into the address the streamer or the NAS and selecting „Proper- or purchased music can then be simply
bar of a web browser (Chrome, Firefox, etc.) ties“ you get the same address. You can also copied into the gigantic storage of the
on your computer, to easily access the web log into the web mask of the router. There is multimedia or music directory. The
control screen of the device. Many network a DHCP register which lists the addresses of instructions for the mass storage tell you
components have this kind of hidden control all active participants. Finally, you can also
where exactly the data belongs. These are
level. download an app like the free „Fing“ on a
Fortunately, DHCP (Dynamic Host Confi- smartphone or tablet that sniffs through the
usually available via download from the
guration Protocol) is part of TCP/IP: this tool network and shows all found participants with manufacturer’s homepage.
enables the router to automatically assign a their TCP/IP addresses. Special music NAS such as Audiodata’s
music server, Naim’s Core or Melco’s

32 STEREO MAGAZINE ISSUE 18

 BASICS STREAMING-NETWORKS

THE TOPOLOGY OF
A STREAMING NETWORK
 HIFI SYSTEM
CAPTION
PERSONAL COMPUTER
USB
The computer with monitor, mouse and key- LAN or WLAN
board is still the best working environment for Analog or digital audio
importing CDs, editing ID3 tags or administe-
ring everyday data management (moving,
copying and deleting files). Whether it is a
desktop model or a laptop is irrelevant. 

 USB DAC
If you want to play the music directly from RIPPING DRIVE 
your computer, a USB-DAC can significantly Whether it is a model in a computer case
improve the sound quality. There are models or a separate USB drive, the „Ripper“,
in all price and quality classes. Some applica- with its scanning quality and error correc-
tions (iTunes, JRiver etc.) even allow remote tion, plays a decisive role in how genuine
control of the PC via a tablet app. CDs are imported into the computer.

 ROUTER (WITH INTEGRATED MODEM)

The router is the central management interface of the
network. It assigns a TCP/IP address to each connected
device and establishes the connection to the Internet. In
 SMARTPHONE/TABLET most cases, four components can be connected, but the
Portables can be used as remote controls connectivity can be extended at any time via „switches“.
via special apps. Some streamers also tap
the portable devices as a data source.

 NAS
The NAS serves as a huge data
store accessible by renderers and
computers in the network. While
a PC could also perform this task,
using specialized network mass  NETWORK PLAYER
storage devices will result in sig- The Streamer is a media player that
nificantly less power consump-  INTERNET requests music files via its network inter-
tion, if you want to keep them In the past, the web only served as a supplier face. It doesn‘t care whether the data
switched on permanently. for Internet radio and additional data (ID3 tags, comes from a PC, from the NAS or from
etc.). Since streaming in CD quality or higher is the Internet (web radio, etc.). To tap
available with services like Qobuz or Tidal, the web-based streaming services it, however,
Internet has become a legitimate hifi source. A requires a special software. Streamer
comparatively „lame“ DSL connection from models are available in a wide variety of
around 6.000 kbps is often sufficient enough designs and sizes, including variants in
for music streaming. kitchen radio format.

33 STEREO MAGAZINE ISSUE 18

 BASICS STREAMING-NETWORKS

models also offer the possibility of import-

ing CDs directly. Naim and Melco have
the additional option of importing large
USB mass storages without the detour via
your computer. Simply back up your
music collection from your desktop PC
onto an external hard drive, plug it into
the NAS, import everything, and enjoy
the fact that you have, at the same time,
generated a backup copy.
In terms of sound, too, such special
computers often have the edge. The mod-
els of the three providers mentioned are
specialized to music reproduction. They
don’t even know features such as  A NAS stores huge amounts of music data (often several terabytes) and can make it availa-
web-sharing. Since their operating sys- ble to several network players simultaneously via the home network. Models like Audiodata‘s
tems have been reduced to basic func- music server (fig.) or Melco‘s N1A can even rip CDs themselves. Others are fed from the compu-
tions, they can work stress-free. Standard ter or via USB hard drive.
NAS like those of QNAP or Synology bur-
den their already weak processors with
many additional tasks. The investment in models such as Cambridge KEYWORD respond quickly to search que-
a proper HiFi NAS can be worthwhile for Audios CXN V2 or Yamaha’s SUBNET: ries. This analysis of music is
audiophile music lovers. NP-S303 combine their versatile The name is to called “indexation”. Each NAS
media players with a D/A con- be understood drive today has at least one musi-
literally: a subnet
ROUTER REQUIREMENTS verter. Cheaper devices such as is a small network cal index service pre-installed.
And also for the router applies: the fewer Sonos’ long-running Connect, of its own within Twonky and Asset are among the
devices are active in a network at the same Bluesounds formidable Node2 or a more complex more prominent examples. Clas-
network.
time, the more relaxed can the central Elacs Discovery have their own sic streamers like Linns 2008 DS
management unit pass around its instruc- DACs, but are also suitable as an or Marantz’ NA8005 can call
tions. You should therefore keep the com- upgrade basis. Accustic Arts Tube DAC upon such UPnP index services (they are
plexity of your home network to a mini- II allows a Node2 to play eye-to-eye with displayed as a source in the app) and
mum. Should the rest of the family protest devices of the 7000 Euro class. Pure retrieve the contents tables. The sorting
against an impending internet lockout, it streaming bridges are fully specialized in criteria are specified by the index service
is possible to set up a small hi-fi subnet this area. Auralic’s Aries models, for of the NAS. Usually one can influence the
using a separate router. Our listening example, have no D/A converters. Instead, display and the available sorting criteria
rooms are isolated from the huge publish- they concentrate on their comprehensive in the web mask of the minicomputer
ing house network in the same way. Your knowledge of formats and offer outstand- (enter IP address in the browser).
local computer shop around the corner ing app controlling – a separate DAC is This method is wonderfully simple, but
should be able to explain to you how the however mandatory in this case! it has two annoying side effects: music
installation works. may have been added or deleted since the
Since there are no specialized hi-fi PUT IT ON THE INDEX! last connection to the NAS. Therefore, the
routers, you can otherwise have little Once a new network player is up and run- table must be recalled each time the
influence on this device. We prefer AVM ning, the first thing it needs to know is streamer contacts the NAS, giving the
(FritzBox) models, which have proven which data pool to obtain the music from. operation, especially with large music col-
to be extremely reliable in our listening If you want to, for example, use a web lections, a little sluggish touch. In addi-
rooms and amortize their additional streaming service, you must enter your tion, the indexing service may send more
costs through longevity, high speed and account data in the device settings. Typing table entries than the streamers and app
intelligent features. Another tip are Net- cryptic passwords is usually much easier process. This occasionally leads to discon-
gear’s large routers, which can also with the app. However, if you want to nections. Then you have to go back to the
establish stable radio connections over stream music exclusively (or in parallel) app’s source register and select the UPnP
long distances due to their many anten- from the NAS, there are two basic index again.
nas. We nevertheless do not deviate from approaches: More and more manufacturers there-
the core statement in the “Some Words One of the many secrets of Apple’s iPod fore prefer to implement their own index-
About Wlan”-box: Wlan is only suitable was that it browsed the entire music ing services in their devices. The classic
for audio transmission in absolute emer- library and compiled the meta-data of all example of this is the Sonos concept,
gencies! titles in a quickly retrievable table. It was which has always managed its music col-
Nowadays there is also with Streamers then able to display the collection alpha- lection according to its own gusto. This
a choice of different versions: standard numerically by artist, album or genre and procedure is usually faster and more

34 STEREO MAGAZINE ISSUE 18

 BASICS STREAMING-NETWORKS

stable, while also allowing for some col- example, a new router is bought, it auto-
orful enrichments: since Naim’s streamers matically assigns new TCP/IP addresses SOME WORDS ABOUT
also index themselves, they know the con- to the found network participants. The
tents of the music library, enabling them same can happen if it is reset for some WLAN
a comparison with the service provider
Rovi, who contributes additional title
reason – the directory paths must be
checked and re-entered if necessary. E verything could be so wonderful: in the
brochures of many manufacturers, the
components of the HiFi chain do their job
information (digital booklets, web links If you are already annoyed by all of this
or artist photos) via the Internet. At Elacs and don’t fancy messing with computer wirelessly. With streaming, this works via
Discovery, it is the paid service provider directories, network addresses and the WLAN. All you have to do is select the desi-
red network router from the network player‘s
Roon that adds highly detailed metadata, like at all, there’s an alternative for you:
menu, enter the password (called SSID,
biographies and unique sorting options. get a music server! Machines like Burm- usually written on the back of the router) and
As grand as it sounds, this contains two ester’s 111 or X-odos’ “xo|one” combine already you‘re wirelessly connected. However,
of the most treacherous hurdles you can network player and NAS in one. It’s even this type of connection is fragile. Just a single
find in a streaming network: cheaper with devices like Auralics Aries door between the router and streamer can
In order for the streamer to scan and Mini or the Altair. Both are delivered as reduce the radio intensity to such an extent
analyze the contents of the networked bare streamers, but can be extended to that an audible sound deterioration occurs.
NAS, it must know which directory the servers via an optional hard disk. All you Therefore, for us, the following rule applies:
music is located at. To do this, one must need is a simple WLAN connection for WLAN may be absolutely sufficient, in order
first define at least one storage location, control via tablet or smartphone. The to connect a little multiroom-speaker some-
which is to be permanently monitored, three musical NAS specialists from Audi- where in the 5th-something side room. For the
central HiFi chain, however, LAN is required!
in the settings. This requires the entry of odata, Naim and Melco mentioned above
If the path from the router to the system is ext-
a network address according to the pat- could also be a simplifying alternative: if remely long, also a single high-quality cable
tern “192.168. xxx.xxx\music” or they are connected via USB to an optional can be laid, using a „splitter“ to separate the
“QNAP\public\music”. We strongly rec- D/A converter, they can also act as media signals in the listening room. Even inexpensive
ommend to do this basic setting on your players and replace the streamer. LAN cables sound better than the most stable
computer. Sonos, Bluesound, Linn and It is already becoming apparent that WLAN network. If fixed cabling is impossible,
some others have a desktop version of NAS drives will lose importance in the PowerLine adapters (network via home power
the remote app. If this is missing (e.g. in future: more and more streamers are network) are a viable alternative. By the way,
Auralic), finding the “backslash” (“\”) can capable of indexing multiple terabytes of it doesn‘t matter that the tablet for controlling
turn out to be a challenge, especially on music collections directly from connected the system is connected via WLAN, as no
Apple portables. In such cases, we have USB media. We are ourselves increasingly audio signals flow here.
already helped ourselves by writing the operating media players in this refresh-
necessary input on a PC and subse- ingly uncomplicated way. Cambridge’s
quently sending it to the portable via CXN V2 even combines this with an WHAT IF IT’S JAMMED?
e-mail. Everything else can then be done UPnP service. It makes the music data of It can always happen that problems
smoothly via “copy and paste”. “its” USB drive available to other stream- appear somewhere. Sometimes a streamer
The second obstacle is that the default ers in the network – even across manu- is not recognized by its own app, another
directory path must not change. Otherwise facturers. Well, if that isn’t good news for time the NAS disappears into digital Nir-
the streamer will not find the music. If, for the computer opposition! vana. In that case you should first of all
check the settings of both devices. Not
only router resets, but in rare cases also
updates can cause Streamer or NAS to
 AVM‘s Fritzboxes forget their base settings. Often the clum-
define the high-end siest of all IT wisdoms also helps: “have
class of DSL-capable you tried turning it off and on again?”And
network routers. The don’t forget to restart the router. It keeps
devices are excel- a table of all networked devices and
lently manufactured, remembers them for a long time. If you
durable and work occasionally give your WLAN data to
extremely reliably. guests (which is not uncommon today),
a considerable amount can quickly accu-
mulate. And if the list of its DHCP con-
tacts becomes too long for the router, it
will start to become noticeably slower.

DATA COLLECTION
The last big topic to which we must devote
ourselves is the acquisition of data or music.

35 STEREO MAGAZINE ISSUE 18

 BASICS STREAMING-NETWORKS

KEYWORD
RIPPING:
The best way still is ripping your own CDs. including the outstanding AMG Since the S/PDIF for- Illustrate “PerfectTUNES” (Win-
This involves importing the optical data car- database. These tagging services mat of the CD cannot dows/macOS, around 31 Euro),
be processed directly
riers into the computer and converting them are required if you don’t want to by the computer, the a collection of small programs,
into one of the common sound formats in manually type in the names of all titles must first be which, among other things,
the same process. The lossless FLAC has artists, albums and tracks. Many extracted from the search for missing or faulty tags
medium and con-
established itself as de facto standard in the service providers (including verted into a usable and covers, compare them with
hi-fi community and is supported by every AMG in particular) also supply sound format (FLAC, the AMG database and add them
streamer. The necessary programs such as high-resolution cover images. MP3, etc.). to the music files.
“Exact Audio Copy” (Windows) or “XLD” And if there is a missing entry Unfortunately, there do not
(macOS) are free of charge. The strongest after the ripping process, one can also man- seem to be ideal prospects for ripping.
and simplest application is called “dbPow- ually edit the ID3 tags afterwards. A fast and Already one finds less and less suitable
eramp” (Windows/macOS) and costs rather intuitive application for this is USB drives in the respective shops. Right
around 33 euros. However, it also offers the MP3tag, which is available free of charge for now we can only recommend the external
integration of several meta-services, Windows and macOS. Another tip is models of ASUS and Pioneer. These can,
however, not compete with the outstand-
ing quality of Plextor’s Premium II series.
In the not too distant future one will
therefore have to buy the music digitally
on the Internet. This is possible in shops
like Qobuz and Highresaudio and even
has an advantage: both suppliers have a
large selection of high-resolution music
in their assortment. After the purchase
you download the data onto the com-
puter, move it to the music directory of
the NAS, and after a few minutes (after
all, the indexing has to be discovered first)
the new hires-songs are ready to go. By
 The strength of indexing by the streamer itself becomes particularly evident in the Roon concept: the way, you are not “limited” to the hires
since it analyses the titles meticulously, it offers not only extensive meta data but also an option for version: for portable and other mobile
statistical evaluation of the music collection (below) and can filter titles, e.g., by year (above). More purposes, it is often possible to download
companies should take this comfort as an example! a variant in CD quality and MP3 files in
parallel. Carsten Barnbeck

WHAT ARE ID3 TAGS?

M etadata, i.e. additional information
(artist, cover image, web links, etc.)
attached to a music file, must adhere to a
formal framework so that it is understood by
as many media programs and network players
as possible. This standard is called ID3 (IDentify
MP3), and it was introduced – as its name
suggests – together with MP3. However, it
is now used for almost all sound formats.
Because the multimedia possibilities of MP3
have constantly evolved since the early days
of MP3, the ID3 tag also had to be updated
in various stages. The current standard v2.4
allows, for example, multiple entries that
can assign a single song to different genres.
However, streamers often use the outdated
(but proven) v1.x variants, which isn’t a problem
since ID3 tags are downwards compatible,
meaning older players can read current tag
 Many newer streamers (here Bluesounds Node2) take care of the music indexing themselves. For
versions. They simply ignore the newly added
this purpose it is necessary to assign the app to the cryptic directory path of the NAS. However, Blue-
possibilities (such as multiple genre tags). For
sound also offers an automatic search (frame), which works reliably at least with UPnP standard mass more information, visit www.id3.org.
storage devices like those of QNAP.

36 STEREO MAGAZINE ISSUE 18

 BASICS STREAMING-NETWORKS

GLOSSARY:
TECHNICAL TERMS EXPLAINED SIMPLY
Sampling rate: Indicates the frequency modern high-performance PCs therefore DHCP: (“Dynamic Host Configuration Pro-
with which “samples” are taken from an “only” know 256 different characters. The tocol”) Automatic IP address assignment
analog signal during its digitization. The memory sizes are also still in bytes. A by the router for fast and uncomplicated
higher the sampling rate, the more preci- computer with one megabyte of memory identification of devices connected in the
sely the original is digitally reproduced. At can manage eight million bits. network.
44.1 kHz, i.e. 44,100 samples per second,
a 5 kHz oscillation already consists of only Bitrate: Data transfer rate, expressed in Ethernet: The term stands for a wired net-
eight samples (44,100: 5,000). If the signal bits/second, for example “100 Mbits/s”, work (LAN or WAN) and is by far the most
is sampled at 96 kHz, on the other hand, i.e. 100 megabits or 100 million bits per common transmission standard for compu-
it’s 19 samples (96,000: 5,000). Since an second. For further information go to ter networks. Nowadays, most components
oscillation always consists of one positive “kbps”. offer fast Gigabit LAN (transmission of one
and one negative half wave, at least two billion bits per second). However, due to
samples are required to display it digitally. Bluetooth: A power-efficient radio stan- external influences on the signal path as
The maximum frequency a digital medium dard for short transmission distances. well as a number of switching processes
can reproduce is consequently half its Unlike WLAN, it is highly standardized. in the computer and router, the real speed
sampling rate. A CD can therefore play a The devices automatically detect other exploitation is usually much lower. DLAN
maximum of 22.5 kHz (44,100: 2), the DVD components and can connect easily. is also one of the Ethernet technologies
manages 48 kHz (96,000: 2). – unlike WLAN, which requires its own
D/A Converter: Often also referred to constantly evolving standard due to its
apt-X: A lossy sound format that, unlike as “DAC”. A special device or assembly complex security technology and authen-
MP3, is not based on a computationally within a component that converts digital tication (password query).
intensive spectral analysis, but uses a data into electrical voltage. The DAC chip
series of fixed mathematical calculations used determines which data formats, bit DSP: (“Digital Signal Processor”), occasi-
that reduce the output signal in a fixed depths (word widths) and sampling rates onally also “Digital Sound Processor”. This
4:1 factor. Due to its fixed operators, the the device supports. Almost all common is a processor optimized for audio signal
encoders and decoders work very fast, chips process S/PDIF up to 24/192, newer processing. Depending on the device, these
which results in small computational models also accept DSD. In this context, signal processors are additionally specia-
delays. Since it requires little processor “data format” must not be confused with lized. For example, there are DSPs that
power from the devices, the format is “sound format”: formats such as FLAC, only decode sound formats, but also those
also extremely power-saving. Besides the MP3 or Apple Lossless must first be that calculate complex mathematical room
classic aptX, which shrinks a CD audio file converted to S/PDIF by the media player equalizations. Although they are usually
from 1411 kbps to 352 kbps, there is the before a D/A converter can process them. clocked much slower, they are superior to
newer aptX HD, which reduces signals many CPUs in audio calculations.
from 24/48 (2304 kbps) to 576 kbps. DLAN: Also called “Power-LAN” or “Pow-
erline” by some manufacturers. A network HD: (“High Definition”= high resolution)
Bit: (“Binary Digit”) The smallest unit in connection via the power sockets or the Meaning a data resolution above the
the binary digit system. Bits are combined existing electrical installation. generally agreed standard. For music,
to so-called “data words”, whose “word this applies to everything above the CD
length” determines the set of values that DLNA: (“Digital Living Network Alliance”) resolution of 16 bit/44.1 kilohertz. Even a
can be mapped: With four bits 16 values An organization for the certification of file with 24 bits and 44.1 kHz may be mar-
can be displayed (0 to 15), with eight bits network devices initiated by manufacturers ked as “HD” according to this definition.
256 values (0 to 255). The 16 bits of the such as Hewlett Packard, Sony and others. For video data, everything above the PAL
audio CD can capture around 6500 dynamic DLNA is based on the UPnP network stan- television or DVD standard (576 picture
levels. dard, but limiting its command scope to lines) is HD.
a more reasonable level. Further, DLNA
Byte: The byte is a group of eight bits – devices are divided into functional groups. HDD: (“Hard Disk Drive”). Not to be confu-
a relic from the early days of computer A DLNA network device therefore knows sed with HD for “High Definition”.
technology. Although computers now immediately whether its equally certified
work with 32 or 64 bits, the byte with partner is a streamer or a color printer and Internet radio: Radio programs from all
its 256 values that can be mapped is still offers appropriate options. This purpo- over the world are transmitted via the
relevant because many basic units of IT se-oriented communication makes DLNA Internet. Since the streaming variants of
are managed with it. The ASCII character networks more stable and less susceptible MP3 and the like are used for the trans-
table is based on byte addressing – even to conflict than UPnP. mission, web radio includes the complete

37 STEREO MAGAZINE ISSUE 18

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GLOSSARY
tagging concept of modern sound formats.
Tens of thousands of available radio
stations can be filtered in the receiver
according to criteria such as preferred
music style, country of origin, language or
transmission quality (bit rate or data rate).
(16-bit coding). The number of sampled
values (i.e. the sampling rate) depends
on the given clock pulse. PCM can, by the
way, only process integer values. Analog
voltages that cannot be “translated” into
16-bit values because they would result
in odd binary numbers are rounded off by
Jitter: Clock tremors, meaning slight time quantization.
errors in the digital signal caused by inter-
ferences, electronic component inertia or S/PDIF: (“Sony/Philips Digital Interface
mechanical influences. It can accumulate Format”) A digital transmission standard
over the entire signal processing. To elimi- developed for the audio CD by Sony and
nate jitter, many components first collect Philips, which became so widespread due
the data in a cache and then “reclock” it to the still popular optical medium that it
according to their own clock settings. is now virtually the industry standard in
digital audio signal processing.
Kbps: Kilobit per second - a unit specifying
the data bandwidth and transmission SSD: (“Solid State Drive”) A flash mass
speed of a digital signal or digital inter- memory that is extremely fast and reliable
face. 512 kbps means that 512,000 bits due to a lack of moving components. To a
are transferred per second from point A certain extent the expensive SSD is, so to
to point B. Multiplying the kbps value of speak, “overpowered” for storing audio
a sound format by the length of the song, signals, since the hard disk is working
you get its effective space requirement much faster than even high-resolution
on the hard disk. 320 kbps MP3 titles with signals require.
a playing time of 3:02 min (182 seconds)
occupy 58,240,000 bits, which corresponds SSID: (“Service Set Identifier”) The
to about 7.2 megabytes (one byte cont- “name” of a WLAN network.
ains 8 bits). Comparable units are Mbps
(megabits per second) or Gbps (gigabits TCP/IP: Internet protocol for packet-by-pa-
per second). cket data transmission from one address to
another, which does not necessarily have
LAN: (“Local Access Network”) A small, to run in the correct order: the data packets
local, wired network, such as a company are collected at the destination address
intranet or home network. In contrast, and then restored to the correct order.
WAN (Wide Area Network) – such as the
Internet (see also Ethernet). The wireless USB: (“Universal Serial Bus”) A bidirec-
(radio) network is called WLAN (Wireless tional standard interface for connecting
LAN). almost any device such as digital cameras,
MP3 players or hard disks to a computer.
NFC: (“Near Field Communication”) radio The most common standard today is USB
protocol for very short transmission dis- 2.0. The new USB 3.0 is significantly faster
tances. Utilizing this technology, Bluetooth and downwards compatible.
devices can authenticate themselves in a
comparatively secure way without entering WLAN: (“Wireless LAN”) Stands for wire-
a PIN. less networks. The transmission speed is
lower than in cable networks, which is
PCM: (“Pulse Code Modulation”) Method due to the fluctuating radio stability. This
for converting analog streams into digital depends on the environment (masonry,
data, which is or has been used with most number of other radios, etc.). Despite its
HiFi media (CD, DAT-recorder etc.). Each similarity in name, WLAN is technically
sampled analog voltage value is represen- only partly comparable to LAN.
ted by a binary number of at least 16 digits

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OVERVIEW:
THE MOST IMPORTANT SOUND FORMATS
Our “Who is Who” explains the most important facts and

fundamentals of the common sound formats.

AAC, MP3, OGG AND WMA Max. data rate: up to 24 bits and 96 kilohertz

File size: not exactly determinable, but the compression is consi-

AAC MP3 OGG WMA derable

Format type: lossy sound formats with additional data compression Sound: like audio CD or better

file extension: .mp4, .mp3, .ogg .wma and others Special features: The licensor combined its sound format with
a certificate to ensure compliance with minimum standards in the
Historical: MP3 is one of the oldest sound formats. It was developed studio and on playback devices, while at the same time preventing
in 1982 and was supposed to make voice and sound transmission data stream manipulation in the playback chain. In terms of sound,
via the, then still young, internet possible in times of lame analogue this makes a lot of sense, but the issuing of certificates for a fee and
modems. Like MP3, AAC was developed by the Fraunhofer Institute the compulsion to licensed hardware brought MQA a lot of criticism,
and was to replace its predecessor. However, through Apple’s use of whose emotionally charged debates and disputes often present the
it in the iTunes Store it established itself as a parallel format. OGG is format worse than it actually is. Since January 2017, thousands of
a license-free counter-design by Xiph.org, who also developed FLAC. MQA albums are offered with the Tidal HiFi subscription at no extra
Fourth to mention is Windows Media Audio (WMA), a compression charge.
codec from Microsoft that has never established itself in the hi-fi
world.
FLAC (FREE LOSSLESS AUDIO CODEC)
Max. Data rate: around 320 kilobits (the multi-channel version of Format type: lossless sound format with data compression
WMA can handle up to 768 kbps) FLAC
File extension: .flac
File size: different
History: Since the year 2000, FLAC was developed by the Xiph.
Sound: below the audio CD Org-Foundation, which is the same free programmer association
that also designed the sound format OGG. In comparison the FLAC
Special features: Since lossy file formats work in a basically encoder works, however, completely lossless. It reduces the file size
comparable way, we generalize here. However, the technologies used by bundling the raw audio data in the manner of an archiving program
differ in some details, which makes them sound different. MP3 has (Zip, Rar). The efficiency of the compression varies, depending on the
a soft loudness touch, while the related AAC sounds emphatically complexity of the edited titles.
neutral and open. Overall, it should be noted that the current gene-
rations (MP3 and WMA are considered to are at the final state of Max. data rate: Up to 655 kilohertz at a maximum of 32 bits are
development) are surprisingly close to the CD at high bit rates. The currently possible.
difference often only becomes apparent in a direct A/B comparison.
File size: Memory requirements are 25 to 70 percent lower than with
WAV, AIFF or the original CD. On average, it saves about 50 percent
MQA (MASTER QUALITY AUTHENTICATED)
of hard disk space.
Format type: lossy sound format with data compression
MQA Sound: like audio CD or better
file extension: .flac, .mqa.flac
Special features: Although basically lossless, FLAC forces the
History: The sound format introduced in 2014 removes the lower eight playing device to moderate computing work when unpacking the
bits of a 16-bit signal (which contain only background noise anyway) audio data. It is possible that this “stress” affects the sound of older
and accommodates high-resolution signal components there. Dedicated streamers. We haven’t been able to collect any clues yet, but readers
MQA converters decompile the data and play it as 24-bit files, all other occasionally report the format would sounds duller on their device
devices play it back as 16-bit audio. Since the compressed FLAC is used than a comparable WAV file. By the way, FLAC uses the tagging
as a container, MQA considerably reduces the file size of high bit audio: format of RIFF (AIFF and WAV) and thus corresponds to ID3: metadata
the 5.6 Mbit of a 24/96 file is broken down to about 500-700 KBit. This and cover image can be of any size and are reduced in data volume
corresponds to about one eighth of the original size. together with the audio signal.

39 STEREO MAGAZINE ISSUE 18

 BASICS STREAMING-NETWORKS

APPLE LOSSLESS (ALSO CALLED “APPLE File extension: .aif or .aiff

LOSSLESS AUDIO CODEC” OR “ALAC”)
Format type: lossless sound format with data compression History: AIFF is closely related to WAV, was developed by game-com-
pany Electronic Arts and was made a standard by Apple in the early
ALAC file extension: .mp4 or .m4a nineties. Due to the widespread use of Apple computers in recording
studios, AIFF quickly became the number one music production
History: Introduced by Apple in 2004, ALAC is based on the same format. Probably this fact is responsible for its good meta tag
principle as FLAC. Lossless audio files are compressed into archi- integration, as the studio professionals wanted to implement their
ves like Zip or Rar. However, Apple Lossless works with different authorship.
algorithms.
Max. data rate: Theoretically, there are no restrictions on bit depth
Max. data rate: The maximum dynamic range is 32 bits, there is and clock rate.
no limit to the frequency.
File size: such as audio CD or above
File size: The memory requirement is 35 to 60 percent less than with
the original CD. The average space gain is 52 percent. Sound: like audio CD or better

Sound: like audio CD or better Special features: Since AIFF is, like WAV, an open container format
for all types of data, the tags can theoretically be as large as you like
Special features: Since the format was originally bound to Apple’s and also contain foreign file types (videos, web links, etc.).
licensing policy, ALAC has no significant popularity outside iOS and
macOS. Since the license was released in autumn 2012, device
DSD (DIRECT STREAM DIGITAL)
support has increased noticeably, but FLAC still has a huge lead.
Format Type: Lossless and compression-free audio format
with bitstream structure - DSD data is not “slashed” into
WAV (ACTUALLY RIFF WAVE) DSD
samples like PCM audio, but is processed as a continuous
Format type: data stream.
WAV lossless and compression-free container format
file extension: .dff (rudimentary format without metadata), .dsf
file extension: .wav, .wave (extended with metadata)

Historical: Although the format dates from the late 1980s, Microsoft Historical: Originally it is the sound format of the SACD, whose
did not introduce it until 1991 with its Windows 3.1. Before, it development was stopped by Sony in 2005. In 2013, the licensor
wouldn’t have made much sense anyway, since the memory requi- finally released DSD as a streamable audio format.
rements of a CD-quality stereo recording of around ten megabytes
per minute would have exceeded the capabilities of any hard disk Resolutions: 2.8 MHz (DSD 64) and 5.6 MHz (DSD 128) - there
at that time. are also significantly higher data rates (DSD 256, DSD 512 etc.), but
these are only used for internal signal interpolation (comparable to
Max. data rate: Theoretically, there are no restrictions on bit depth up- and oversampling).
and clock rate.
File Size: Pure HD audio format. The memory requirement is twice
File size: such as audio CD or above to four times that of an audio CD.

Sound: like audio CD or better Sound: Excellent! With good recordings, DSD is one of the best
formats.
Special features: WAV handles all registers of the tag management
and could even attach videos to the files, since it isn’t bound to size Special features: DSD-capable hardware is always required for
restrictions. However, this potential is not exploited by virtually any playback. Due to its special one-bit data structure, the SACD format
streamer or software. The support is good: almost any network player, cannot be directly processed by computers or network players. To
portable and USB host can play WAV. overcome this, the “DoP”-trick is applied (DSD over PCM): The DSD
data stream is divided into “words” (sequences of 16, 24 or 32 bits)
and stored in a form that is interpreted by the processing devices
AIFF (AUDIO INTERCHANGE FILE FORMAT)
as a PCM audio signal. A streamer can delegate this container to
Format type: its D/A converter, where it is unpacked again to the DSD bit stream.
AIFF lossless and compression-free container format Although contrary claims are circulating, this process is completely
lossless and sound neutral.

40 STEREO MAGAZINE ISSUE 18

“The way we listen to music has been transformed.
But the reason we listen remains the same”

At DALI, we believe that digital music should deliver convenience and choices without compromise
on sound quality. That’s why we’ve re-imagined hi-fi for the 21st century with the CALLISTO Wireless
Speaker System.

Stream, beam, and control music from almost any source and enjoy the stunningly detailed, transparent
reproduction DALI is celebrated for.

www.dali-speakers.com
 HIFI EXCLUSIVE LF-CABLE

HEAR ME SING!
Anyone who experiences the new „Suprema“ RF cables thinks the preamplifier or between this and the
power amplifier were formed alternately by
they‘d hear the angels sing and may understand HMS‘ approach either Gran Finale Jubilee or Suprema. The
loudspeaker cable was always HMS’ Gran
differently in the future. Finale Jubilee in single or bi-wire design -
the LS-Suprema is still in the making.

O
f course HMS still stands for description. On the contrary, there it The Suprema’s attraction
Hans M. Strassner, who is the quickly gets emotional and enthusiastic. Having heard Diana Krall’s famous “Live
technically proficient owner of We have been listening for years with the In Paris” with the Supremas, afterwards
the, well known among HiFi fans, Rhinelander’s thoroughly honest “Gran reconnecting the previously praised Gran
Leverkusen cable forge. The portfolio’s Finale Jubilee” series. The Supremas not Finale Jubilees, had an almost “sobering”
larger conductors are not only developed only go beyond them, but also have a dif- effect. Not only did the performance sud-
there, but also manufactured and assem- ferent, more touching, if you like, more denly lack something of the expansive
bled by hand in painstaking, meticulous musical touch to them. This was the case spatial dimension and suppleness, it
and detailed work. when testing the first Phono-Supremas in audibly lost grandeur, because now the
The processes and the entire, com- December 2017 and is no different with fine details clumped together slightly,
pletely “voodoo”-free approach of HMS the now following NFs. leaving a coarser, less refined impression
are subject to a pronounced sobriety, Want an example? We had wired our of the event. With the Supremas the
which also forms the basis of the new reference system (see test components) degree of organization was even higher,
“Suprema”-NF conductors, but which is completely with HMS, whereby the con- without thereby taking any analytical
completely unsuitable for their tonal nections between the source devices and perspective. On the contrary, the entire

42 STEREO MAGAZINE ISSUE 18

 HIFI EXCLUSIVE LF-CABLE

 In the cinch version of the

Suprema, the supply and return
conductors are guided through
hollow Teflon sleeves.

 Foils and braided shields made of silver-plated copper strands

keep out electromagnetic and electrostatic fields. In addition, there
are ferrite rings against high-frequency interference (not shown).

performance, which spread out in front The "Top Match" impe-

of the listener, seemed more natural, dance adjustment is
pleasing and diversified. reserved for the XLR Sup-
This became very clear when we played rema. It creates subtle
Vivaldi violin concertos from the Tacet sound differences. ►
label. Their often dense sound structures,
some of which have a glistening presence
in the strings, not only were more subtle
under the control of the Supremas, which
was shown, for example, by the fact that Brains & Effort TEST-COMPONENTS
the accompanying harpsichord could be This was all the more surprising as it is
followed more clearly, but also offered a usually the Gran Finale Jubilees that out- PLAYER: Transrotor Rondino nero/5009/
Figaro
more homogeneous, holistic and relaxed class their competitors. In order to set the
reproduction. With the Gran Finale Jubi- Supremas apart from their previous top PHONO-PRE: Brinkmann Edison
lee, the upper frequencies became nar- product, Hans M. Strassner had to go to MULTIPLAYER: T+A MP3100HV
rower, more brittle, yes, sometimes even great lengths. In the cinch version, for PRE-/ POWER AMP: Accustic Arts Tube
somewhat metallic. example, the 32 individually coated pure Preamp II MK2/Amp II-MK3
Are these reservations at a very high copper strands of the supply and return LOUDSPEAKER: B&W 800D3, Dynaudio
level? Of course! But when you have conductors are passed separately through Contour 60
enjoyed an entire page of this Tacet LP small Teflon sleeves, so that 95 percent CABLE: HMS Suprema (Phono), Cardas Cle-
with the Supremas and then switch to the of them are surrounded by air, which is ar, HMS Gran Finale Jubilee, In-Acoustics
equally high-priced but still much cheaper the best insulator after a vacuum. The NF 2404 (NF), HMS Gran Finale Jubilee (LS)
Gran Finale Jubilees and start again at the individual strands are guided in such a
same volume, the distance between them way that they constantly change their
becomes immediately evident. There had position within the cable. This way, HMS version is only available with the 10-stage
before been a freer, more graceful and wants to prevent skin-effects which, due adjustable impedance matching “Top
musical ambience with a more pro- to the magnetic field around the entire Match”, which marginally increases the
nounced “attraction” to it. conductor, would push primarily high- current flow via a slightly higher load on
er-frequency signals into its outer areas. the output of the source device, this way
Further there are two shields made of supposedly having a positive effect on the
LENGTHS & PRICES silver-plated copper braiding underneath distortion behavior.
HMS Suprema (Cinch) the soft outer braiding against electro- Despite these differences, the super
Stereo set with WBT NextGen plugs assemb- static fields. A magnetic foil in the form cables sounded almost identical and were
led in 1/1.25/1.5/1.75/2 and 3 meters length of a layer of Teflon plus a whole number equally impressive in Cinch and XLR, due
around 1980/2190/2400/2610/2820 as well as of ferrite cores of different types then act to their serenity, grace and breathing
3660 €, other lengths are possible on request, against magnetic fields in order to achieve sound images on the highest level. The
each additional stereometer plus 840 €. the widest possible broadband attenua- musicality of the Supremas suggests a
tion of RF interference. Hardly could any whole new interpretation of the HMS
HMS Suprema SR (XLR) more be done! abbreviation: “Hear Me Sing!”
Stereo set only as „Top Match“ version In the XLR version of the Supremas, Matthias Boede
including impedance adjustment with
HMS relies on a mix of materials. There,
carbon/stainless steel plugs from Furutech
assembled in 1/1,25/1,5/1,75/2 and 3 meters
conductors of silver-plated copper wire
length around 2880/3250/3620/3990/4360 run on a hollow core between the con- Contact: HMS Elektronik
and 5840 €, other lengths are possible, each nection pieces designed as above. An Tel.: +49 2171/734006
additional stereometer plus 1480 €. “anti-microphonic film” protects the con- www.hmselektronik.com
struction from vibrations. The XLR

43 STEREO MAGAZINE ISSUE 18

Pure legacy.
Next-gen
attitude.

We’ve taken care of the tech.

You take care of the music.
The new Dynaudio Xeo wireless stereo speakers: all the performance of
high-end hi-fi with none of the hassle. Just plug them into the mains and plug in
your sources – or stream with high-quality aptX Bluetooth. It’s as simple as that. Xeo 10 / 20 / 30

dynaudio.com
 REPORT VINYL PRESS

FUTURE-PROOF
again.” Although the customer finally
bailed out because his financiers broke
away, Seiffert and Neubauer did not give
up the renovation. “But at some point we
Vinyl is booming, but the capacities of the pressing plants are said to ourselves: it doesn’t pay off. It
makes more sense to develop it newly from
limited. Now a German company is offering new press machines scratch.” Within one year, the project was
accomplished: based on the Finebilt, the
for the first time in a good three decades. – nomen est omen – Newbilt was created.
Time to have a closer look at the

W
hen the CD began its trium- production and was for a long time head machine. A semi-automatic “Newbilt
phant rise, it meant the begin- of CD production at Record Service, later Duplex”-set consists of two presses, an
ning of the end for vinyl – at Warner Music Manufacturing Europe extruder and hydraulics. Granulate is
least that was what people thought in the and today’s Cinram. There he met Neu- filled into the funnel of the extruder,
mid-1980s. At that time, Toolex Alpha, bauer in 1986. which is then compressed more and more
the Swedish world market leader for press Just a few corners away from Cinram until the “biscuit” comes out at the end,
machines, ceased production. there is an inconspicuous building. “I which is placed in the press. To start the
Even today, pressing plants work almost rented it in 2010,” says Neubauer, “to over- computer-controlled printing process,
exclusively with machines from the 1950s haul used systems for CD and DVD pro- an employee simultaneously presses two
to 70s. If parts break, they are often removed duction and then sell them again across red buttons. The two matrix-plates move
from decommissioned ones, the keyword the globe”. In 2014 he met Seiffert again, into the actual press and are closed. The
being cannibalization, because many parts who was, at the time, in charge of a vinyl vinyl “biscuit” is first heated to 180
can only be rebuilt with great effort. project: “A customer from Singapore had degrees Celsius, using steam, then
Now “Newbilt” has developed new bought two scrap-ready Finebilt systems pressed by hydraulics at a pressure of
record presses. Behind the company from from the 1950s and 1960s and wanted over 100 tons and finally cooled to 25
Alsdorf near Aachen are the partners them to be revised. Detlef turned to me degrees by applying water. It takes 40
Detlef Seiffert (Consulting), Kees De because I had the hall at my disposal. It seconds until the matrix-plates are
Jonge (Sales) and Erwin Neubauer (Man- was then that we realized for the first time extended again and present the finished
aging Director). Seiffert started in vinyl that press machines could be a market record to the viewer. Since a set has two

3
6

3 3
2 2

45 STEREO MAGAZINE ISSUE 18

 REPORT VINYL PRESS

1 asynchronous presses, an average of three matrix-plates before the pressing process,

records can be produced per minute. prevents the operator from being tempted
Although the equipment is based on the to place the biscuit differently, possibly
historical design of the Finebilt, it has pinching his hand in the process. Elec-
been modernized with new control sys- tronically controlled displays provide
tems. For example, inserting the information on temperature and other
relevant data. Also the mechanics have
been improved: “in the past, 120-gram
1 The vinyl granulate is compressed (under the and 140-gram presses were standard.
yellow cover) until the „biscuit“ comes out at the Printers of those days, which are still in
end. 2 The biscuit is placed in a press and the use today, are not designed for the 180-
pressing process is initiated (picture without mat- gram records that are now fashionable.
rices). Since a set consists of two presses, it is Because for those you need not only more
possible to work in parallel. 3 The equipment of vinyl, but also higher pressure.” That is
the Newbilt is based on a historical design, but why Neubauer&Co. have equipped the
has been modernized. Electronically controlled new Finebilt Duplex with a hydraulic pis-
2 displays provide information on temperature and ton of 330 millimeters in diameter, which
other important data. 4 Unlike the Newbilt, the is 60 mm more than the Toolex Alpha.
Toolex Alpha is a fully automatic press machine. The insider explains: “The larger the pis-
Despite historical technology, it is used world- ton, the lower the hydraulic pressure
wide in the production of large quantities. required. This allows us to run a 180 gram
5 Vinyl granulate is the material of which the pressing with 40 bar less than usual. So
„black gold“ is made. 6 The funnel of the extru- we still have some capacities left.”
der is filled with vinyl granulate. Andreas Kunz

“WE ARE THE FIRST“

small music companies, labels and bands are
ERWIN NEUBAUER
interested. Jack White, for example, bought
four sets for his new Detroit plant.
Managing Director on
3 the opportunities of
How did the deal come about?
the new press in the Via Record Products of America, RPA for short,
record industry. who represent us in the USA. The vinyl market
is rather small. If you are in touch with the
You are the first company in more than right people, the rest goes relatively quickly. In
three decades to offer newly developed addition, forums are used to inform who offers
record press machines. What distinguis- what. And we have the advantage of being the
hes your Newbilt Duplex from the classic, first to introduce new machines to the market.
the Toolex Alpha?
4 Our Finebilt Duplex is not a fully automatic but a So founding Newbilt wasn‘t a risk?
semi-automatic machine, with the disadvantage No. We were in the process of reorientation
that on every set there must be an employee to anyway, because CD and DVD no longer work.
operate it. One advantage is that our machine The prices for the corresponding production lines
can comparatively easily handle almost any are so broken that you can no longer make any
format, regardless of whether 7, 10 or 12 money with them. Vinyl sales, on the other hand,
inches, “Picture Discs” – i.e. vinyl with an increased in recent years always between 30
image – or so-called splashs – color-striped and 45 percent. This is enormous, and the still
vinyl. It also makes loading easier than with intact old machines are already working at their
fully automatic machines, because changing the limit. I don’t think the boom will fade quickly,
matrix is simpler. especially since our industry is still quite small.
5
Who are your customers? How long does it take for your Newbilt
You’ll be surprised: certainly not the large Duplex to pay off for the customer?
European printing plants Optimal, Pallas and That depends. If you have enough orders, the
GZ in the Czech Republic, because they have machines run 24 hours a day and the “Return of
bought up all the old Toolex presses over the Invest” is less than one year. A set consisting of
recent decades. But because you can’t get two presses, an extruder and the hydraulics costs
any more today and the waiting times at the around 160,000 euros. We have already sold
pressing plants are sometimes half a year for eleven sets, a new order from China is imminent.

46 STEREO MAGAZINE ISSUE 18

TD-4.8
“Even though our “Cutting Edge
Diamond Technology” represents
groundbreaking performance and
technology it is never a question
to stop the quest for further
improvements. Always striving to
improve our technology is simply
a part of the Raidho DNA. With the
new Tantalum Diamond Technolo-
gy, we have managed to improve
our class leading diamond cones
to the extraordinary.
Raidho is always on the move!”

Meet us on facebook

de distribution:
www.alexgiese.de
www.hifi-bamberg.de
www.life-like.de
www.my-sound.net
www.schoene-musik.de
 H I F I E X C L U S I V E I N T E G R AT E D A M P

THE BEST
SAM YET
Audionet celebrates the birthday of its “evergreen” with a strictly
Audionet‘s solid remote
limited special edition, elevating the potential of the integrated is produced for the 20
SE in an engraved spe-
amplifier to a whole new level. cial edition. ►

A
udionet’s SAM is one of only a best, a compromise. After all, the inputs of the signal routes leads us directly to the
few integrated amplifiers that and thus the ideal location for pre-ampli- next point. In all its incarnations the amp
have established themselves to fication are located at the opposite end of sounded stunning and could always stand
be fixed values in the editorial team’s the cabinet. In fact, the SAM has a level up to any potential competitors – some-
collective memory. This is, of course, also control, and even an extremely high-qual- times even beyond the boundaries of its
due to the fact that we have come across ity one from Alps. However, its develop- own class. Its unbelievable stage represen-
it time and again over the past two ers put it in the middle of the preamplifier tation, a pithy dynamic spiced with light-
decades. In 1999 we tested the early V2 circuit. The front buttons serve as control ning-fast attacks and the finely analytical
version, in 2011 it was the turn of the access to this remote-controlled motor but not in the least sober sound make
Generation 2 (SAM G2, currently around potentiometer. Therefore, the control is, Good Ol’ SAM the epitome of a thor-
4490 Euro). In between both had spent contrary to modern expectations, com- oughly audiophile amplifier, which
several years as faithful test references in pletely analogous. Sometimes the giant inspires outrageous fun when really going
our listening rooms. amp is criticized because the volume has for the limits. With qualities of such ver-
What makes the amp, whose manufac- to be selected via pushing the, haptically satility, one can go a long way.
turer has migrated from Bochum to Berlin, excellent, ball buttons, thus having to On occasion of their super machine’s
so extraordinary is, inter alia, its external push through all levels in between – step twentieth anniversary, the company
appearance, as there are not many inte- by step. Also, the fact that even its input decided to launch an exclusive, strictly
grated amplifiers that dare to cut out the selection is operated via a rather slim limited to 200 units, special edition called
volume control. Audionet sacrificed this device-menu is not appreciated by every- SAM 20 SE. Externally, the solid alumi-
most distinctive control-feature of any one. However, our many years of experi- num block looks exactly like its model,
amp due to a simple, logical consideration: ence have taught us that such thoughts the small copper plaque on the back,
should not be bothered at all: 99.9 percent which identifies our device as number ten
Unimpeded signal flow of the time one would anyway use the of the possible 200, being the only differ-
If aiming at the most efficient signal paths, enclosed all-aluminum remote control. ence. On the inside, the basic circuit logic
the detour via a front potentiometer is, at Furthermore, the consistent shortening has been retained as well.

48 STEREO MAGAZINE ISSUE 18

 H I F I E X C L U S I V E I N T E G R AT E D A M P

However, during the development of signals are sent out via elegant loud­ SE deliberately drives the strengths of the
the SE all modules and individual parts speaker ter­minals from Furutech. A serial model to perfection and thus shows
were carefully reevaluated and many, recorder, subwoofer or power amp can the potential that was hidden in the SAM
sometimes even whole functional blocks, be connected via pre- and line-out. If G2 circuits — but only for a limited time.
replaced by higher quality substitutes. there appears to be no signal after con- Carsten Barnbeck
This upgrade offensive was, of course, nection there is no need to panic, as the
based on newer amplifier models, as for outputs are deactivated by default. The AUDIONET SAM 20 SE
example the amazing “WATT” (around fixed indication of the mains phase around 6990 €
12,500 Euro), from which, e.g., the deserves praise, while opinions on the Dimensions: 43 x11 x39 cm (WxHxD)
low-resistance power transistors were headphone jack might be divided: hidden Warranty: 2 years
borrowed. Further, the entire internal on the rear, directly underneath the LS Contact: Idektron
wiring was replaced by pure gold and terminals, the large output socket is not +49 30 2332421 0
www.audionet.de
silver cables, while, wherever relevant to located very accessibly.
the sound, high-quality mica capacitors As expected, soundwise the 20 SE is in The limited-edition anniversary model
were implemented. a class of its own. Transparent, crisp and builds on proven strengths and does the
A lot more than just fine-tuning has spatially extremely resolved, it lets loud- SAM credit: spatially, orderly and incredibly
been done at the phono board. This is speakers and walls literally disappear. It dynamic, it combines audiophile virtues with
an unbelievably joyful musicality. It is almost
offered on the SAM G2 as an option with depicts voices and instruments with a bit sad that it will be limited to 200 copies.
extra charge (around 500 Euro), sharp, almost sculptural con-
KEYWORD LAB MEASUREMENTS
but is fitted as standard on the tours on a huge stage. It, there-
Mica capacitor:
SE. It is also a completely revised „mica“ is a term fore, becomes a breathtaking
version of the board, which has describing layered experience to listen to Black
as well been equipped with an mineral crystals that Sabbath’s “Warning” from their
have already been
armada of mica capacitors and used as dielectrics debut album. The guitar soli
improved operational amplifi- in capacitors since were well distributed over the
ers. Out of the box our test sam- the 1920s. panorama and formed a con-
ple was prepared for MM-oper- trast to the otherwise rather
ation. Using a total of four jumper banks, dryly mixed song with its short delays and
the equalizer can, however, also be adapted room reverberation. On B&W’s 800 D3,
filigree and separately to the impedance the SAM brings them to life so vividly and Continuous power (8 Ohm / 4Ohm) 103 W/179 W
and gain factor of any MC system. three-dimensionally that you think you Pulse power 4 Ohm (1kHz) 232 W
can reach into the strings. THD at 50mW/5W/1dB Pmax 0.003 %/0.001 %/0.002 %
Phono included However, the amplifier also throws even
Intermod. 50mW/5W/1dB Pmax 0.005 %/0.002 %/0.04 %
To emphasize the anniversary model’s earth-shaking bass impulses cleanly and
Signal to noise ratio at 50mW/ 5W 86.8 dB/106.5 dB
exclusivity, its front panel and remote drawn with superb detail into the listening
Signal to noise ratio Phono MM (5 mV for 5W) 79.4 dB(A)
control were not simply imprinted but room. Just under 180 watts into four ohms
engraved. The rest is the same as on the and pulses of up to 232 watts ensure that Attenuation at 4 Ohm (63Hz/1kHz/14kHz) 142/149/200
original: it has six gold-plated analog it never runs out of breath and give energy Upper cut-off frequency (-3dB/4Ohm) >80 kHz
inputs, one of which is balanced and and flow to its exemplary orderly, always Crosstalk Line 1 > Line 2 93.4 dB
another reserved for phono. Amplified clear and tonally balanced style. The 20 Stereo channel separation at 10kHz 75.3 dB
LAB COMMENTS: The measured values are consis-
Mains Phase
tently impeccable. Interest-
on test unit ingly, the SAM defends itself
against wrong power con-
nection. If the mains phase is incorrectly connected to
the cable, the amp indicates this on the display.
FEATURES
One balanced XLR input, one phono input
(MM/MC), four asymmetrical RCA inputs,
one record and one pre-out each, one pair
of Furutech LS terminals, remote control,
English manual

SOUND QUALITY 94 %
PRICE/PERFORMANCE

 The equipped-as-standard phono board was revised for the 20 SE and differs in many EXCELLENT
details from the optional board that can be retrofitted in the SAM G2 for about 500 Euro.

49 STEREO MAGAZINE ISSUE 18

Quieter and Stronger

In many audiophile circles, it is com- “The difference was huge.

monly believed that power condi- AudioQuest’s Niagara 1000 not
tioners and various other power-line only cleaned up the power, it did
accessories often do more harm than everything that is the opposite
good, robbing the music of its vitality, of killing the boogie…. It
color, and that oh-so-important, wildly was as if my system had
intangible “boogie factor.” gotten a heart-shot of
adrenaline.”
AudioQuest’s Niagara Low-Z Power
— Herb Reichert,
Noise-Dissipation Systems are Stereophile,
designed to do the exact opposite. April 2017
Niagara kills the noise while honoring
the music, so that the listening expe-
rience can be exactly as it should be:
compelling, immersive, fun.
R E V I E W F L O O R S TA N D I N G S P E A K E R S

51 STEREO MAGAZINE ISSUE 18

 R E V I E W F L O O R S TA N D I N G S P E A K E R S

MISS TWIGGY
PIEGA TMICRO 60 AMT
around 2000 €
Dimensions: 19 x107 x22 cm (WxHxD)
Warranty: 6 years
Listening to music properly without having to subordinate the Contact: PIEGA SA
Tel.: +41 44 725 90 42, www.piega.ch
entire living room to this purpose? The Piega TMicro 60 AMT is
Very slim 2.5-way bass-reflex loudspeaker in
a high-quality aluminum cabinet. Soundwise
supposed to master this balancing act. We have taken the spatially and tonally balanced, dynamical and
blessed with astonishing level stability. The
liberty of comparing claim and reality. cover is fixed.
MEASUREMENT RESULTS

F
ew manufacturers know how to is impeccable and seems to be finished
match optical elegance and top carefully and on a high qualitative level.
sound performance as well as the The Piega then had to pass the final
Swiss manufactory Piega, which is located exam in our listening room, and right
directly on the shores of Lake Zurich. The from the start it could score points, as it
only 14 centimeter wide, 106 cm high and was able to disappear acoustically, while
17 cm deep, low-resonance aluminum simultaneously drawing Tracy Chapman
enclosure, without any right angles, is not vividly into the room. There were no
only attractive in form, but also the reason annoying tonal traits, with the high-fre-
the compact dimensions with the pro- quency reproduction being mild and skill-
foundness and at the same time high and fully tuned on the NAD 316 as well as on
even for tube amplifiers suitable efficiency the Audionet SAM 20 SE or the Sym-
is possible at all. If wood had been used phonic Line RG 9, which is not a matter
instead of aluminum, the cabinet would of course with jet tweeters. With Steven
have to be much more voluminous, obvi- Wilson’s “Refuge”, like Joni Mitchell’s
ously significantly reducing the much “Court And Spark”, the TMicro showed
quoted “women acceptance factor”. astonishing dynamic abilities and did not
stumble even at high levels, although it
DC resistance 4Ω
It also works without ribbons could not hide some small acoustic obe-
Minimum impedance 4 Ω at 55 Hz
The living room-friendly exterior is, how- sity in the upper bass range. In view of the
Maximum impedance 12.5 Ω at 7900 Hz
ever, just one thing, the technical prereq- price also Freddie Hubbard with Billy
Sound pressure level (2.83 V/m) 83.2 dBSPL
uisites for good sound are another. In any Joel’s “Zanzibar” was very convincing. A
Power for 94 dBSPL 72.3 W
case, the implemented drivers are prom- great voice was undoubtedly Fritz Wun-
Lower cut-off frequency (-3dBSPL) 42 Hz
ising: the HF-range is, here, not handled derlich. Anyone who has ever heard him
Distortion factor at 63/3k/10k Hz 1.0/0.3/0.1 %
by a ribbon-tweeter as is otherwise typical in Böhm’s “Magic Flute” knows what I’m
for Piega loudspeakers, after all, giving talking about. Here, too, the smart balance LAB COMMENTS
them their name, but by a lower-cost between attention to detail and long-term Discreet with frequency response and step
AMT tweeter, which is supposed to be suitability was appreciated. The Piega also response; impedance goes down to about
close to the outstanding resolution and mastered Massive Attack’s “One Love” two Ohm at 55 Hertz; efficiency about 83
minimal distortion level of the Piega rib- almost effortlessly and without being dB – stable amplifiers recommended. The
bons. To ensure optimal coupling of the guilty of weakness; on the contrary, it did distortions are pleasingly low.
mids to the ultra-fast tweeter, starting at quite well without being able to reproduce FEATURES
around 4000 Hertz, one of the three an excessive thunderstorm of bass. Mar- Available in aluminum silver, black anodized
12-centimeter drivers is responsible as a tha Argerich on the grand piano and or white lacquered finish; base plate for
midrange driver for everything between Izhak Perlman on the violin also certified increased stability; single-wiring terminal
200 and 4000 Hertz via an 18 dB cross- the naturalness: Beethoven’s violin sona- for banana-connectors, cable lugs or bare
over, while the two other, long-stroke tas were a real experience. We then con- cables; no spikes included
drivers process the lowest frequencies cluded with a final audition using guitar
down to around 45 Hertz in parallel. The music of all kinds: from Paco de Lucia and
internal cabling is done by 2.5 mm Al di Meola to “The Wind Cries Mary” by SOUND QUALITY 65%
high-purity copper strands. The quality Hendrix - a sound journey that the Piega PRICE/PERFORMANCE
of the crossover components does not mastered more confidently than its opti-
make a highly audiophile, but still very cal appearance would suggest. EXCELLENT
decent impression. The aluminum cabinet Michael Lang

52 STEREO MAGAZINE ISSUE 18

 NEWS

Linn Selekt DSM Marantz updates

W hy do many people long for the good old record again?
Because with digital media they miss the haptic! In the long
multi-channel flagships
run, they find it unsatisfactory just to swipe and type on touch-
screens. That‘s why Linn‘s new network player „Selekt DSM“ is
based on touch quality: with a „jewel-like“ turn/push button made
I MAX Enhanced is one of the new features of the Marantz AV
receiver SR 7013, which will be available in black and silver
for 1800 Euro in October. This allows digitally processed 4K
of polished glass that begins to glow when you approach it, and HDR content to be combined with DTS audio technology using
customizable keys that, according to the press release, „remind the IMAX process. IMAX Enhanced is expected to be available
you of piano keys with their feel“. The large button can be used via a free firmware update from January 2019. The SR 7013
not only to adjust the volume, but also to start or stop streaming, accommodates an 11.2-channel preamplifier and 9 200-watt
select from a playlist or a list of radio stations, or switch to another output stages. It has 8 HDMI inputs and 3 HDMI outputs,
decodes the 3D sound for-
mats Auro 3D, Dolby Atmos
and DTS:X/Virtual:X, converts
analog video signals to 4k,
can process DSD streams up
to 5.6 MHz via LAN and
WLAN and offers access to
Deezer, Spotify Connect,
Amazon Music, Tidal and Internet radio. Also on board:
Bluetooth reception, Alexa voice control via HEOS-Skill, Apple
source. The buttons can be assigned to a playlist, genre, artist, Airplay 2, App operation – and even a Phono-MM input. If you
streaming service such as Tidal or Qobuz, or to a radio station or operate external power amplifiers or active speakers, there is
local source. Connections are available for an MM and MC also the AV preamplifier AV 7705 (2100 Euro, in black).
pickup, a high level source, two optical and two electrical S/PDIF
sources each, a PC via USB (PCM up to 192 kHz) and a TV via
the HDMI ARC input. Outputs are available on Cinch and XLR
sockets as well as on 2 „Exakt Link“ ports. The network connection
is established via LAN. In the basic version the Selekt DSM costs
Harman opens
4760 Euro, with integrated 2x100 Watt Class D amplifier 6350
Euro. The device can be extended with Linns DAC architecture
flagship store
„Katalyst“. It will be available from October - at the same time the
Linn DS will be removed from the range. A fter Shanghai, Tokyo and New York, Harman International
has now opened its first flagship store in Europe - in
Munich. However, it is not primarily used for shopping, but to
experience the products, which is why Harman calls it the
„Experience Store“. Headphones, portable loudspeakers, sound

Pioneer‘s flagship bars, voice-controlled loudspeakers and much more from JBL,
Harman Kardon and AKG as well as selected products from the
multi-purpose player automotive sector can be experienced. The rooms are flexibly

F ollowing the recent launch of the UDP-LX500, Pioneer is pre-

senting a new top model in its universal disc player range in
October. The UDP-LX800 (2300 Euro) plays all disc formats from
CD to SACD, DVD-Audio to UltraHD-Blu-ray. All components are
housed in separate chambers, and ext-
ra-thick honeycomb embossed sheets
provide electrical and acoustic shielding.
The cabinet is designed without cooling
slits and has double aluminium side walls
– making it dustproof and soundproof –
so that no running noise can penetrate to
the outside at the speeds of up to 5000 rpm that occur with the designed so that they can also be used for lectures, small con-
UHD Blu-ray. A separate linear power supply unit supplies the certs or parties. By the end of the year, a luxury audio studio is
audio board, which is equipped with two ES 9026 PRO D/A to be opened in an adjacent room, where Harman will present
converter chips. In conjunction with Pioneer receivers, the PQLS its high-end brands Lexicon, Mark Levinson, and Revel. There
system, in which the receiver sets the clock, ensures a stable audio will also be a cinema room with Dolby Atmos. The Experience
data clock for HDMI transmission. The player provides analogue Store will be open from Monday to Saturday from 10 a.m. to
sound signals via Cinch and XLR. 7 p.m. from today, 26 September, onwards.

53 STEREO MAGAZINE ISSUE 18

 NEWS

300€ Denon all-in-one system

M y first Denon is what they want to call it: Denon‘s new
D-T1 mini-all-in-one system is ideal for young people ente-
ring the world of hi-fi. Perfect as a birthday present, for confir-
mation or for Christmas. After
all, it not only reads CDs and
receives FM radio, but also
plays music from a smart-
phone via Bluetooth and has
an additional aux and optical
digital input. Headphones
can also be connected.
Complete with two-way loudspeakers, each driven with up to
15 watts, the system costs 300 euros. It is now available in
black or grey.

Acoustic Energy AE 100 –

white and limited
W hite speakers are becoming more and more popular,
which is why Acoustic Energy is also launching a white
version of its low-priced AE 100
DARC-SERIES 60 | 80 | 100 | 200 | 250

compact speakers (pair price 350

euros) in October. The special
edition is limited to 500 pairs (for
Germany, Austria and
Luxembourg). The bass reflex spe- „THE BEST WE HEARD -
akers are equipped with a 10 cm
bass-midrange driver and a 28
mm fabric tweeter with „Wise
EVER!“
Dispersion Technology“ and have a cabinet made of 18 mm WOLFGANG TUNZE,
thick MDF panels. FRANKFURTER ALLGEMEINE ZEITUNG

Open design and limited

numbers – Ultrasone Did you ever think of stacking massive aluminum ribs with

Edition eleven dampers in between one over the other thus creating a
perfect loudspeaker cabinet? We did! And we integrated
symmetric crossovers with slopes of 60 dB/octave using
A t Ultrasone, the added term
„Edition“ always stands for „Made
in Germany“, and so too the new
ceramic and diamond drivers. Interested? Call us:
+497159920161, more information: gauderakustik.com
„Edition eleven“ is manufactured in
Wielenbach, Bavaria. They are open
headphones with ear cups made of solid
walnut, an all-aluminum headband and exchangeable ear cus-
hions with velour cover. The 4-wire cable is also interchangeable.
Dynamic transducers with 40 mm diaphragms made of a bio-cell
fibre composite are in charge of producing the music. As is com-
mon at Ultrasone, they are mounted diagonally so that the sound
hits the ear cups from the front. The scope of delivery includes an
adapter from small to large jack, a headphone stand and a
transport bag. The „Edition eleven“ is limited to 1111 copies and
will be available in October for 1000 euros.
Gauder Akustik · Steinbeisstr. 24 - 26 · 71272 Renningen · GERMANY
54 STEREO MAGAZINE ISSUE 18
 NEWS

Tube Amp for

170,000 Euro Wireless subwoofer
T he „Valve Amplification Company“ (VAC) from Florida
is launching a new member of its „Statement“ family at
from Electrocompaniet
the beginning of October: the integrated amplifier „Statement
450i iQ“. The special thing about it is not only the price of
169,000 Euro, but also the vertical construction as a tower.
T he Norwegian high-end forge Electrocompaniet has added a
wireless subwoofer to its „EC Living“ wireless speaker system.
The „SIRA L-1“ (1050 Euro) works
It is designed to allow optimal placement of the components together with streaming components
such as TANA SL or RENA and
automatically integrates into the
sound image of all existing „EC
Living“ speakers. Two 7-inch woo-
fers driven by a 200-watt Class D
power amplifier and a 7-inch pas-
sive radiator are housed in a metal
cabinet with an edge length of
almost 30 cm. The loudspeaker
grills are exchangeable. Another novelty at Electrocompaniet con-
cerns the ECG-1 turntable: it is now equipped with a new 3-phase
motor and a larger power supply.

and as direct a signal flow as possible. The integrated ampli-

fier contains the power amplifiers of the Statement 450 S as
well as the line and phono preamplifiers of the Statement
family. Each of these modules is supplied via its own power
transformer, separately for left and right channel, making a Network-compatible
total of 6 power transformers. The operating point of the
KT88 end tubes is automatically adjusted and the approa- all-in-one system from Sonoro
ching end of their service life is displayed.
A „tabletop radio“ that can also play CDs and make contact with
the home network: The Sonoro „Prestige“ receives FM and
DAB+, offers access via LAN or WLAN to web radio, Spotify
Connect and music from the home network via UPnP, receives music

Marantz-Combi in
limited edition
F or the 40th anniversary of Marantz‘ brand ambassador
Ken Ishiwata, the company launches a SACD/CD
player and integrated
amplifier in the „Ruby“
edition, which is limited via Bluetooth with aptX and sends the signals via Bluetooth to wire-
to 1000 copies. „SA-KI less headphones. Also, up to 5 devices in different rooms can be
Ruby“ and „PM-KI Ruby“ connected to a multi-room system. Two line inputs (1x mini jack, 1x
are characterized by the cinch) and an optical S/PDIF port are available for local sources.
laser engraved signature Output signals can be picked up via the headphone jack and the
of Ishiwata and the line-out. The Prestige is equipped with two coaxial tweeters and
embedded ruby on top midrange drivers and a 10cm subwoofer, which are fired with a
of the front panel. The total of 120 watts. The unit is housed in a wooden cabinet with a
devices will be available surface of silver, black or white piano lacquer. Complete with
from October in numbered units (500 in black and 500 in remote control it costs 800 Euro.
gold) with the corresponding certificate of authenticity. They
cost 4000 Euro each. Ken Ishiwata joined the company in
1978 and under his leadership, their engineers produced
some of Marantz‘s most award-winning products.

55 STEREO MAGAZINE ISSUE 18

 NEWS

EU Parliament passes Compact CD Receiver

copyright reform from Magnat
I n its second attempt, the EU Parliament adopted the - revised
- draft of its legal committee on copyright reform by a large
majority. According to the draft, platform operators such as
I t‘s just 28 cm wide and houses a CD drive, a FM/DAB+ tuner
and an integrated amplifier with 2x35 sine: the new MC 100
CD receiver from Magnat. Via its optical and the coaxial S/PDIF
Youtube are liable if their users upload copyrighted works, such input it accepts PCM signals
as music. However, uploading to online encyclopedias such as up to 24 bit / 192 kHz, and
Wikipedia is excluded, as well as small businesses. The result not only the D/A converter
of the vote was criticized by the IT association Bitkom as „back- supports this resolution, but
wards“, but welcomed by the Federal Association of the Music also the power amplifier trans-
Industry as „very good news for Europe‘s creative people and mits frequencies up to 80 kHz
their partners“. The record companies, on the other hand, are according to the data sheet.
not going to like one of the Analog sources can be
bill‘s passages: It grants connected via two cinch and one mini jack input on the front
artists the right to demand panel. In addition to the loudspeaker outputs, a tape-out, a sub-
additional payment from woofer-out and a large headphone jack socket are also available.
labels if the originally The MC 100 can also receive Bluetooth signals with aptX. The
agreed remuneration is electronics are housed in a full metal cabinet with an aluminum
disproportionately low front and are powered by a toroidal transformer. The device is
compared to the later income from the exploitation of the works now available for 650 Euro, complete with remote control.
or performances. This means that artists can demand a fair share
of the effervescent streaming revenues from the labels, even if
the original contract does not provide for this.
 NEWS

Melco entry-level server Lighter turntable

T he Japanese server specialist Melco launches its new
N100 model at the end of September for just under 2000
weights from bfly
Euros, which is one size smaller than the N1A and N1Z
series. It offers the same functions as the N1A and N1Z series, N ot every turntable gets along well with a heavy record
weight. Especially for models with subchassis, for
example from Linn, Thorens or Dual, bfly now offers the „PG1“
in a „Light“ version. The weight has been reduced from 350
to 200 grams, but, according to the manufacturer, without
sacrificing effective damping. For the body of the „PG1 Light“
bfly uses the special plastic polyoxymethylene instead of alu-
minum and equips it, like the „heavy“ PG1 MK2, with 6
absorber inserts, each of which consists of 3 layers of sorbo-
thane, mineral powder (pressed) and natural rubber. The PG1
but has a smaller and simpler housing and is powered by an Light costs 129 Euro. The slimmed down version „PG0“ is now
external switching power supply. It is equipped with a selected as well available as „PG0 Light“ for 79 Euro.
2 TB hard disk. Another novelty is the N10 (7500 Euro, sche-
duled for the end of October) with a more elaborate mother-
board compared to the N100, a solid aluminum case and a
linear power supply in a separate case. Both innovations were
on display for the first time at the Süddeutsche HiFi-Tage in
Stuttgart on September 8 and 9.

KEF updates R-series

K EF has made no fewer than 1043 individual modifications
to the new R-series. Its heart is KEF‘s „Uni-Q“ coax chassis, Visit us on
FACEBOOK
which is now entering its 12th generation with a newly desi-
gned drive system. KEF has also completely revised the woo-
fer: it now creates even greater deflections and has a new,

and don‘t miss

any NEWS
from the hifi
industry!
facebook.com/
stiffer diaphragm. Internal struts are connected to the cabinet
via damping interfaces to eliminate unwanted vibrations.
stereo.hifi.magazine
Finally, KEF has equipped the bass reflex tube with flexible
walls to prevent axial resonance. The front panels are covered
with suede-like microfibre material, which only becomes a
sound-permeable grille above the respective chassis. The new
R series consists of the floorstanding loudspeakers R11, R7 and
R5 (pair prices 5000, 3200 and 2400 Euro respectively), the
bookshelf loudspeaker R3 (1600 Euro/pair), the center
loudspeaker R2c (1000 Euro) and the Dolby Atmos compatible
loudspeaker R8a (960 Euro/pair). They will be available from
November in high-gloss black, high-gloss white and walnut.

57 STEREO MAGAZINE ISSUE 18

 IMPRINT

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