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Author Archives: Alan Taffel

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Acora Acoustics SRB Loudspeaker

Posted on by Alan Taffel

As a breed, high-end speaker designers are inclined to be keen about their very own specific design predilections. Andrew Jones wouldn’t dream of constructing a speaker that lacked coincident drivers. Daryl Wilson is adamant in regards to the significance of inter-driver timing. Magico’s Alon Wolf will construct a ported enclosure when hell freezes over.

Valerio Cora, founder and designer of Acora Acoustics, the relative newcomer who has already made main waves within the business, is equally passionate. In his case, the thing of his fervor is stone. Indeed, Cora’s obsession with using stone for speaker cupboards goes past mere philosophy. For him, the choice for stone is private.

Cora spent three months in Italy yearly till he was 18 years previous as a part of a household whose enterprise was stonework and machining. His father served as his mentor, instructing him the intricacies of varied stones: their traits, the best way to work with them, the best way to choose the very best. Cora is aware of the fabric intimately as a result of, in a really actual sense, stone is in his blood. 

But Cora is a scientist by coaching, so if you happen to ask him why he selected stone—particularly granite—for his flagship SR speaker collection enclosures, he gained’t regale you with tales of his youth. Instead, he’ll dispassionately clarify why “it’s merely the very best materials to make a speaker out of.” Why? “It’s steady. It’s inert. It’s inflexible. It doesn’t bend, deflect, or compress. It holds the drivers exactly in place, with no motion, and it doesn’t permit the rear wave to work together with the entrance wave. Granite doesn’t permit sound waves to penetrate by means of it or contribute any sound waves of its personal.”

Ask him his emotions towards different widespread speaker supplies and also you’ll get a terse response. Wood? “Not sufficiently stiff or dense. Too compressive. Not hermetic.” Aluminum? “Better, however nonetheless extra elastic and fewer dense than granite.” One knock Cora has towards just about all non-stone enclosures is that they require bracing to realize sufficient stiffness. In his ebook, bracing is dangerous as a result of “sound waves from the again of the drivers mirror off the bracing and are available again to the entrance of the drivers.” Consequently, Acora audio system eschew bracing altogether. Besides being sonically deleterious, bracing is superfluous in a speaker fabricated from granite.   

Nor is Cora any extra complaisant relating to different features of speaker design. For occasion, all Acora audio system are 2-way. The cause? “It’s practically unattainable to realize section coherence with a 3-way passive crossover. You all the time must make extra compromises than with a 2-way.” Nor are Acora audio system

time-aligned within the vein of a Wilson, Vandersteen, or Rockport. Like Magico’s Wolf, Cora feels that “time-aligning drivers creates compromises that outweigh the advantages. Also, it’s bodily unattainable to be time aligned in any respect frequencies. But we make use of a sloped baffle to realize a phase-coherent alignment between the drivers.” How about first-order crossovers, then? “No. Too a lot driver overlap between drivers—as much as six octaves on the crossover frequencies.” And as for sealed enclosures, “I desire the bass extension of ported designs.”

Cora is equally choosy about his drivers. For instance, he doesn’t use diamond-coated tweeters, saying, “Maybe sooner or later. Right now, they don’t meet my sonic goal. Remember, if you happen to’re coating one thing, you’re including weight to it.”

Nowhere will you discover extra proof of Cora’s uncompromising exactitude than on the matter of granite coloration. The SR Series audio system are, like a Model T Ford, accessible in any coloration you’d like as long as it’s black. That appears draconian, however, as all the time, Cora has causes grounded in information. “Different colours of granite have completely different densities, all decrease than black. Veins of coloration are literally cracks which have been fused collectively by mom nature. This leads to a weaker construction with completely different resonant properties. Black doesn’t have any of those issues.” 

And so it’s that for Acora’s entry-level speaker within the high SR Series, the $18,750 SRB, Val Cora constructed a 2-way, ported, brace-free, stand-mounted speaker with a non-diamond-coated beryllium tweeter, a 5.9″ mid/woofer, and a modified 4th-order crossover, all handsomely enclosed in a lustrous black granite cupboard. Yet, as you’ll see, this speaker doesn’t simply mirror its designer’s technical orientation; it manifests his very nature.

The Uncompromising Speaker

Just as Val Cora doesn’t compromise on his speaker designs, his SR Series audio system don’t compromise on sound high quality. They inform the reality of what’s on the recording, and nothing however. They’re among the many most revealing audio system I’ve ever encountered, however there’s no sugar coating. Speakers for the “As You Like It” crowd, these aren’t.

Like all ultra-revealing audio system, the SRB calls for an immaculate setup. Don’t even take into consideration cheaping out on cables or amplification. Even amongst costly, reference-class choices, you’ll wish to select properly. Cardas cables, for example, are identified to be full within the bass. This is a fortuitous attribute in lots of setups, however I discovered the Cardas Clear a would possibly too fulsome for the Acoras, which, regardless of their measurement, are on no account bass shy. I used to be happier with my customary Empirical Design speaker cables, that are extra impartial.

And whereas I bought usually good outcomes with my CH Precision I1 built-in amp, I couldn’t eradicate a persistent shrillness within the decrease treble. This will not be a attribute of the amp nor, as I used to be to be taught, of the speaker; moderately, it was a lower than preferrred pairing.

Since Cora voices and reveals his audio system primarily with tubed gear, I assumed it smart to borrow some to see what would occur. And as a result of the audio system thrive on impartial related tools, I sought out two tubed elements that JV had just lately highlighted as a few of the most impartial such merchandise he’d encountered: the Audio Research Reference 160S stereo energy amp and Reference 6SE linestage. A name went out to Dave Gordon at ARC, and earlier than I knew it, my pals at JS Audio in Bethesda, Maryland, had offered me samples of those luscious elements. The ARC duo labored wonders on the shrillness I’d beforehand encountered.

When it involves putting the SRB, some exactitude is required. You’ll wish to give these audio system a large stance, with loads of distance between them and solely a contact of toe-in. That mentioned, the audio system are surprisingly versatile relating to distance from the wall behind them. That is, they’re equally amenable to being effectively out from that wall or in a room that forces them nearer to it.

Of course, you’ll want stands—and never simply any stands. Acora makes two which can be particularly designed for the SRB. In my view, utilizing these, versus generics, is obligatory. To carry out as supposed, the SRBs should be tightly coupled to the ground. The Acora stands try this.

The two fashions are the steel-and-granite SRS-M ($3125) and the considerably heavier, all-granite SRS-G ($6250). Normally, I’d have gone for the full-granite choice, since Cora instructed me in no unsure phrases that it sounds higher. However, the all-granite stands have a barely broader base than the steel variations, and that will have conflicted with my media console. This overview, then, is predicated on the audio system being positioned atop the SRS-M stands. It’s good to know that, house and price range allowing, even higher sound may be wrung from the SRS by utilizing the SRS-G stands.

After you get all this sorted out, you’ll wish to run within the audio system for an extended spell earlier than contemplating them damaged in. Anything lower than 200 hours, and also you’ll hear a paucity within the treble. Don’t fear; it goes away.

Once every little thing is true, the little SRB dazzles with wonderful feats. Play a superb piano recording—I sometimes use Michael Wolff’s 2am—and also you’ll marvel at how a lot slop you’ve been listening to from different audio system. Listen to any good jazz-bass recording and also you gained’t consider the deep, highly effective, punchy, detailed lows you’re getting from such a compact design.

This low-end decision extends to pop recordings, as effectively. On Kacey Musgrave’s “Slow Burn,” there’s an especially delicate bass line that accompanies the guitar by means of the opening verse. I by no means heard it earlier than I had the SRBs in my system. That’s the kind of musically significant materials the SRBs unearth. Indeed, attempt them with any acquainted recording and I dare you to not hear some element—or be higher in a position to distinguish and comply with an obscured musical line—that had beforehand gone unnoticed.

You’ll additionally get a greater than credible 3-D soundstage, even when the audio system are lower than a foot from the wall behind them. As for imaging, it’s as very good as you’d count on from a well-sorted, two-way mini-monitor with an enclosure that’s actually laborious as a rock.

Vocals? You’re going to listen to each ingredient of the singer’s instrument. Try Satchmo on “St. James Infirmary.” Everything that makes him singular, from tone to model to delicate inflections, is laid naked. Or placed on Tracy Chapman having her inimitable approach with a stay rendition of “Stand by Me.” Her uniqueness and prowess are overwhelming.

The SRB can also be superb at one thing that eludes many audio system, even these which can be in any other case of reference caliber: dynamic monitoring. I’m not referring to the flexibility to play tender and loud, or to transition fleetly from one to the opposite, although the SRB completely does these issues, too. What I imply is a speaker’s capacity to take care of coherence and tonal steadiness by means of various dynamics. The SRB—and all Acora audio system, in my expertise—do that to a fare-thee-well.

At the identical time, the SRB’s uncompromising nature implies that it’s not for everybody. If there are issues with a recording, you’re going to listen to them. For occasion, Led Zeppelin’s “Black Dog,” regardless of the model, is unremittingly skinny. The SRB does nothing to cover this truth. Mind you, the Acora doesn’t exaggerate flaws in supply materials; it simply doesn’t disguise or compensate for them.

Which makes it value noting that the SR Series will not be the one mannequin line Acora presents. The firm just lately launched the QR Series. Each QR mannequin is equivalent to its SR counterpart save that it’s fabricated from quartz moderately than granite. You may even get them in colours apart from black! Those are compromises, true, however Cora was sanguine about them as a result of the QR Series is extra forgiving but retains 95% of the SR’s sound high quality. QR fashions are additionally 20% inexpensive than their granite counterparts.    

Which one is best for you? If you’re prepared to surrender that 5% of the SRB’s efficiency for a extra forgiving presentation, the QRB may have your identify on it. But if it’s uncompromising efficiency you search from a compact, stand-mounted speaker—the last word in decision, dynamics, imaging, and musically related element—the Acora SRB must be in your must-audition listing.

Specs & Pricing

Type: 2-way bass-reflex standmount
Drivers: 5.9″ sandwich paper cone midrange/woofer, 1″ beryllium dome tweeter
Enclosure: High-polish, pure black granite
Crossover frequency: 3.3kHz
Impedance: 8 ohms
Recommended amplifier energy: 10W–150W
Sensitivity: 86.5dB/1W/1m
Frequency response: 43Hz–35KHz
Dimensions: 9″ x 13″ x 11″
Weight: 58 lbs. every with out stands
Price: $18,750/pr.

ACORA ACOUSTICS
165 Milner Ave,
Scarborough, ON
Canada
M1S 4G7
acoraacoustics.com
(647) 812-3933

The put up Acora Acoustics SRB Loudspeaker appeared first on The Absolute Sound.

World News

Acora Acoustics SRB Loudspeaker

Posted on by Alan Taffel

As a breed, high-end speaker designers are likely to be keen about their very own specific design predilections. Andrew Jones wouldn’t dream of constructing a speaker that lacked coincident drivers. Daryl Wilson is adamant concerning the significance of inter-driver timing. Magico’s Alon Wolf will construct a ported enclosure when hell freezes over.

Valerio Cora, founder and designer of Acora Acoustics, the relative newcomer who has already made main waves within the business, is equally passionate. In his case, the article of his fervor is stone. Indeed, Cora’s obsession with using stone for speaker cupboards goes past mere philosophy. For him, the desire for stone is private.

Cora spent three months in Italy yearly till he was 18 years previous as a part of a household whose enterprise was stonework and machining. His father served as his mentor, educating him the intricacies of varied stones: their traits, learn how to work with them, learn how to choose the perfect. Cora is aware of the fabric intimately as a result of, in a really actual sense, stone is in his blood. 

But Cora is a scientist by coaching, so when you ask him why he selected stone—particularly granite—for his flagship SR speaker sequence enclosures, he gained’t regale you with tales of his youth. Instead, he’ll dispassionately clarify why “it’s merely the perfect materials to make a speaker out of.” Why? “It’s steady. It’s inert. It’s inflexible. It doesn’t bend, deflect, or compress. It holds the drivers exactly in place, with no motion, and it doesn’t permit the rear wave to work together with the entrance wave. Granite doesn’t permit sound waves to penetrate by it or contribute any sound waves of its personal.”

Ask him his emotions towards different frequent speaker supplies and also you’ll get a terse response. Wood? “Not sufficiently stiff or dense. Too compressive. Not hermetic.” Aluminum? “Better, however nonetheless extra elastic and fewer dense than granite.” One knock Cora has towards nearly all non-stone enclosures is that they require bracing to realize enough stiffness. In his ebook, bracing is unhealthy as a result of “sound waves from the again of the drivers replicate off the bracing and are available again to the entrance of the drivers.” Consequently, Acora audio system eschew bracing altogether. Besides being sonically deleterious, bracing is superfluous in a speaker made from granite.   

Nor is Cora any extra complaisant with regards to different facets of speaker design. For occasion, all Acora audio system are 2-way. The motive? “It’s practically not possible to realize section coherence with a 3-way passive crossover. You all the time need to make extra compromises than with a 2-way.” Nor are Acora audio system

time-aligned within the vein of a Wilson, Vandersteen, or Rockport. Like Magico’s Wolf, Cora feels that “time-aligning drivers creates compromises that outweigh the advantages. Also, it’s bodily not possible to be time aligned in any respect frequencies. But we make use of a sloped baffle to realize a phase-coherent alignment between the drivers.” How about first-order crossovers, then? “No. Too a lot driver overlap between drivers—as much as six octaves on the crossover frequencies.” And as for sealed enclosures, “I want the bass extension of ported designs.”

Cora is equally choosy about his drivers. For instance, he doesn’t use diamond-coated tweeters, saying, “Maybe sooner or later. Right now, they don’t meet my sonic goal. Remember, when you’re coating one thing, you’re including weight to it.”

Nowhere will you discover extra proof of Cora’s uncompromising exactitude than on the matter of granite colour. The SR Series audio system are, like a Model T Ford, out there in any colour you’d like as long as it’s black. That appears draconian, however, as all the time, Cora has causes grounded in information. “Different colours of granite have completely different densities, all decrease than black. Veins of colour are literally cracks which were fused collectively by mom nature. This ends in a weaker construction with completely different resonant properties. Black doesn’t have any of those issues.” 

And so it’s that for Acora’s entry-level speaker within the high SR Series, the $18,750 SRB, Val Cora constructed a 2-way, ported, brace-free, stand-mounted speaker with a non-diamond-coated beryllium tweeter, a 5.9″ mid/woofer, and a modified 4th-order crossover, all handsomely enclosed in a lustrous black granite cupboard. Yet, as you’ll see, this speaker doesn’t simply replicate its designer’s technical orientation; it manifests his very nature.

The Uncompromising Speaker

Just as Val Cora doesn’t compromise on his speaker designs, his SR Series audio system don’t compromise on sound high quality. They inform the reality of what’s on the recording, and nothing however. They’re among the many most revealing audio system I’ve ever encountered, however there’s no sugar coating. Speakers for the “As You Like It” crowd, these aren’t.

Like all ultra-revealing audio system, the SRB calls for an immaculate setup. Don’t even take into consideration cheaping out on cables or amplification. Even amongst costly, reference-class choices, you’ll wish to select properly. Cardas cables, as an illustration, are identified to be full within the bass. This is a fortuitous attribute in lots of setups, however I discovered the Cardas Clear a would possibly too fulsome for the Acoras, which, regardless of their measurement, are not at all bass shy. I used to be happier with my normal Empirical Design speaker cables, that are extra impartial.

And whereas I obtained typically good outcomes with my CH Precision I1 built-in amp, I couldn’t eradicate a persistent shrillness within the decrease treble. This shouldn’t be a attribute of the amp nor, as I used to be to be taught, of the speaker; moderately, it was a lower than preferrred pairing.

Since Cora voices and reveals his audio system primarily with tubed gear, I believed it smart to borrow some to see what would occur. And as a result of the audio system thrive on impartial related tools, I sought out two tubed elements that JV had not too long ago highlighted as a number of the most impartial such merchandise he’d encountered: the Audio Research Reference 160S stereo energy amp and Reference 6SE linestage. A name went out to Dave Gordon at ARC, and earlier than I knew it, my pals at JS Audio in Bethesda, Maryland, had offered me samples of those luscious elements. The ARC duo labored wonders on the shrillness I’d beforehand encountered.

When it involves putting the SRB, some exactitude is required. You’ll wish to give these audio system a large stance, with loads of distance between them and solely a contact of toe-in. That mentioned, the audio system are surprisingly versatile with regards to distance from the wall behind them. That is, they’re equally amenable to being effectively out from that wall or in a room that forces them nearer to it.

Of course, you’ll want stands—and never simply any stands. Acora makes two which might be particularly designed for the SRB. In my view, utilizing these, versus generics, is obligatory. To carry out as meant, the SRBs have to be tightly coupled to the ground. The Acora stands try this.

The two fashions are the steel-and-granite SRS-M ($3125) and the considerably heavier, all-granite SRS-G ($6250). Normally, I’d have gone for the full-granite choice, since Cora instructed me in no unsure phrases that it sounds higher. However, the all-granite stands have a barely broader base than the steel variations, and that might have conflicted with my media console. This assessment, then, is predicated on the audio system being positioned atop the SRS-M stands. It’s good to know that, area and funds allowing, even higher sound might be wrung from the SRS through the use of the SRS-G stands.

After you get all this sorted out, you’ll wish to run within the audio system for a protracted spell earlier than contemplating them damaged in. Anything lower than 200 hours, and also you’ll hear a paucity within the treble. Don’t fear; it goes away.

Once every thing is true, the little SRB dazzles with superb feats. Play piano recording—I usually use Michael Wolff’s 2am—and also you’ll marvel at how a lot slop you’ve been listening to from different audio system. Listen to any good jazz-bass recording and also you gained’t consider the deep, highly effective, punchy, detailed lows you’re getting from such a compact design.

This low-end decision extends to pop recordings, as effectively. On Kacey Musgrave’s “Slow Burn,” there’s an especially delicate bass line that accompanies the guitar by the opening verse. I by no means heard it earlier than I had the SRBs in my system. That’s the form of musically significant materials the SRBs unearth. Indeed, strive them with any acquainted recording and I dare you to not hear some element—or be higher capable of distinguish and comply with an obscured musical line—that had beforehand gone unnoticed.

You’ll additionally get a greater than credible 3-D soundstage, even when the audio system are lower than a foot from the wall behind them. As for imaging, it’s as excellent as you’d anticipate from a well-sorted, two-way mini-monitor with an enclosure that’s actually arduous as a rock.

Vocals? You’re going to listen to each component of the singer’s instrument. Try Satchmo on “St. James Infirmary.” Everything that makes him singular, from tone to fashion to delicate inflections, is laid naked. Or placed on Tracy Chapman having her inimitable manner with a stay rendition of “Stand by Me.” Her uniqueness and prowess are overwhelming.

The SRB can be superb at one thing that eludes many audio system, even these which might be in any other case of reference caliber: dynamic monitoring. I’m not referring to the power to play gentle and loud, or to transition fleetly from one to the opposite, although the SRB completely does these issues, too. What I imply is a speaker’s capability to take care of coherence and tonal stability by various dynamics. The SRB—and all Acora audio system, in my expertise—do that to a fare-thee-well.

At the identical time, the SRB’s uncompromising nature implies that it’s not for everybody. If there are issues with a recording, you’re going to listen to them. For occasion, Led Zeppelin’s “Black Dog,” irrespective of the model, is unremittingly skinny. The SRB does nothing to cover this reality. Mind you, the Acora doesn’t exaggerate flaws in supply materials; it simply doesn’t disguise or compensate for them.

Which makes it price noting that the SR Series shouldn’t be the one mannequin line Acora presents. The firm not too long ago launched the QR Series. Each QR mannequin is an identical to its SR counterpart save that it’s made from quartz moderately than granite. You may even get them in colours aside from black! Those are compromises, true, however Cora was sanguine about them as a result of the QR Series is extra forgiving but retains 95% of the SR’s sound high quality. QR fashions are additionally 20% cheaper than their granite counterparts.    

Which one is best for you? If you’re prepared to surrender that 5% of the SRB’s efficiency for a extra forgiving presentation, the QRB might have your title on it. But if it’s uncompromising efficiency you search from a compact, stand-mounted speaker—the final word in decision, dynamics, imaging, and musically related element—the Acora SRB ought to be in your must-audition checklist.

Specs & Pricing

Type: 2-way bass-reflex standmount
Drivers: 5.9″ sandwich paper cone midrange/woofer, 1″ beryllium dome tweeter
Enclosure: High-polish, pure black granite
Crossover frequency: 3.3kHz
Impedance: 8 ohms
Recommended amplifier energy: 10W–150W
Sensitivity: 86.5dB/1W/1m
Frequency response: 43Hz–35KHz
Dimensions: 9″ x 13″ x 11″
Weight: 58 lbs. every with out stands
Price: $18,750/pr.

ACORA ACOUSTICS
165 Milner Ave,
Scarborough, ON
Canada
M1S 4G7
acoraacoustics.com
(647) 812-3933

The put up Acora Acoustics SRB Loudspeaker appeared first on The Absolute Sound.

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The 2023 AXPONA Show: Alan Taffel on Loudspeakers Below $30k

Posted on by Alan Taffel

If you may’t make it to Munich for an audio present, AXPONA is a really shut second. This was my maiden journey to the Chicago extravaganza, however even veteran attendees marveled anew at its sheer dimension, the demographic disparity of attendees, the presence of nearly each main high-end producer on earth (together with their prime designers and executives), and the plethora of purposely timed product introductions. Compared to Munich, AXPONA’s most obvious lack is an efficient apfelstrudel.

So, there I used to be wandering the ten flooring (plus a dozen ballrooms), looking for audio system below $30k, however discovering largely fashions priced properly under $10k. What was occurring? The trade had lastly realized that efficiently attracting a brand new, youthful, however much less prosperous clientele meant pricing its wares accordingly. Consequently—and I by no means thought I’d write this in a TAS present report—costs have been method down. New merchandise however, that was AXPONA’s greatest information.

Most Significant

AT_1 Mission
The Mission 770 is of the New-Old School of audio system. Its sound was excellent, and its value is simply $5k/pair—together with stands!

Mission M770. This speaker, making its U.S. debut, represented a number of developments. First, it’s uncontestably cheap: simply $5k/pair, together with stands. Second, like introductions from Wharfedale, JBL, Janszen, KLH, Klipsch and Tannoy, the Mission is an up to date model of an outdated speaker—on this case, the M770 that initially bowed in 1978. At AXPONA, every little thing outdated was new once more. Not all these seductively priced reboots have been profitable, however the Mission had a dynamic alacrity and midrange immediacy that have been absent even in lots of costly high-end audio system.

AT_2 Janszen
Janszen’s Nine.Five takes the KLH 9 as inspiration to create a virtually full-range (all the way down to 200Hz) ‘stat.

Janszen Nine.Five. Another retro speaker that made the grade will get particular kudos for its willingness to play with the unique’s design. The Nine.Five takes its cue from the beloved KLH Model 9. But whereas the KLH was a full-range electrostatic, the Janszen is a almost full-range ‘stat. In the trendy model, which runs $21,900, the planar panel covers every little thing from 200Hz up. Below that could be a line array of six 8” dynamic woofers. At AXPONA the low-sensitivity speaker was underpowered by AGD electronics, so Beethoven’s 7th didn’t fare properly. However, on much less strenuous supply materials, comparable to Brubeck’s “Take Five,” the amps stored up and the audio system confirmed exceptional neutrality, convincing timbre, and wonderful imaging. On no event did I hear any discontinuity between the planar and dynamic drivers. Sometimes taking liberties pays off.

AT_3 GE
GoldenEar’s slim T66 is the corporate’s first main introduction since its acquisition. Its sound bodes properly for future releases.

GoldenEar T66. The long-delayed revamp of GoldenEar’s famed Triton collection begins now, with this good-looking, below $8k/pair floorstander. The T66 marks the primary core-product introduction for the reason that firm was acquired by the Quest Group, which additionally contains AudioQuest. Compared to its predecessors, the T66 reveals noticeably superior industrial design and end. Featuring a ribbon tweeter and powered sub, the T66 sounded clean and luxurious when pushed by McIntosh tubed electronics. I’d like to listen to it with some good solid-state gear, however the T66 bodes properly for GoldenEar’s subsequent chapter.

AT_4 Q Acoustics
Coming to America: the Q Acoustics 5000 Series from Britain.

Q Acoustics 5000 Series. This British model is extra acquainted to Europeans than Americans, however that will change with new distribution right here and choices like asserting a whole new line at AXPONA somewhat than ready for Munich. The 5000 collection ranges from $750–$2000, and each mannequin options expertise from the doubly costly Concept Series. At AXPONA, powered by the all the time good-sounding Soul Note electronics, the mid-range mannequin 5040 ($1499) displayed surprisingly excessive decision and dynamics for the worth. Even the cupboard was stunning.

AT_1 MoFi
The MoFi SourcePoint 8, at simply $3k, breaks new floor as to what’s doable at its value level.

MoFi SourcePoint 8. Designer Andrew Jones’ newest is a boundary buster. The SourcePoint 8 demonstrates simply how a lot audiophile-grade sound may be wrung from a $3k/pair of audio system. The SP8 is the newborn brother of the stellar SourcePoint 10—itself an unbelievable discount at $4k/pair—with the distinction being the woofer dimension. Both fashions characteristic Jones’ trademark concentric-driver method. The SP8 could surrender a smidge of bass extension in comparison with the SP10, however its low finish stays highly effective and tight. As with the SP10, The SP8’s imaging, decision, dynamics, and just about every little thing else are ridiculously good for the worth. AJ does it once more!

Auspicious Debuts

AT_6 Pureaudioproject
The PureAudioProject Trio 15 options interchangeable and expandable modules.

PureAudioProject makes open-baffle audio system that homeowners can modify by including or changing modules. For occasion, the midrange may be dealt with by the customer’s selection of a horn, coax, or full-range driver. The newest mannequin is the Trio 15, which features a pair of 15” woofers and the coax mid/hello for $8900/pair. Its sound at AXPONA was clean and soulful, with nice spatial dispersion. There have been no field colorations, due to there being no field.

Tannoy was yet one more model from hi-fi’s golden age that was sprucing up its outdated catalog. The Stirling LLLZ Special Edition ($12,500) relies on a 1967 design, however its elements trickled down from the flagship Kensington mannequin. Like many of those retro-inspired audio system, there are consumer changes; on this case, for tweeter degree and roll-off frequency. Tannoy supplied solely a static show of the Stirling, however the Kensington, which is bigger however has an identical specs, was enjoying. In the Tannoy custom, it sounded wealthy and sonorous.

Gershman XdB. The XdB is a stand-mount speaker with a distinction: the stand itself is a part of the system. As I perceive it, the stand capabilities as a bass entice, dissipating extra bass from the sealed enclosure. In one other departure, there’s an anti-vibration, mass-loading disc atop the cupboard. The audio system, $12k/pair together with stands, are rated all the way down to an impressively low 23Hz. At their AXPONA introduction, bass was shockingly prolonged and highly effective. The remainder of the spectrum was equally good, particularly by way of dynamics. A exceptional debut, particularly—I’ll say it once more—contemplating the worth.

AT_7 JM Reynaud
JM Reynaud’s OrfeoGrande($19,500) hybrid made its U.S. debut with Jadis electronics.

JM Reynaud’s Orfeo Grande ($19,500) had its U.S. premier at AXPONA. The French firm’s new flagship mannequin employs a planar tweeter and dynamic mid and bass drivers, all of which built-in artfully. Paired with Jadis electronics, the combo sounded each bit as candy as you’d anticipate, however not overly so. There was a stunning diploma of instrumental physique and weight for such a small footprint.

Dynaudio pulled out all of the stops at AXPONA. The firm showcased three audio system: the Confidence 50, which galvanized JV; the Confidence 20, whose sound was such that it had no enterprise costing simply $13k together with stands; and the $11k Focus 50, making its first commerce present look. These are wi-fi, powered, 3-way, tri-amplified audio system with built-in streaming, room correction, and WiSA inter-speaker connectivity for low latency. Although I didn’t get to listen to the F50, I used to be impressed by its vary of assist for streaming platforms (Tidal, Roon, Spotify), wi-fi connectivity (Chromecast, exterior WiSA sources as much as 24/96, AirPlay 2, Bluetooth), and hardwired inputs (Ethernet, coax Digital, TosLink, analog). As befits a very fashionable speaker, every little thing is configurable and controllable through an app.

In Other News

 Canadian speaker firm Rethm launched the Maarga floorstander ($12,900). An lively speaker, the Maarga incorporates a 400-watt amp to energy its quad 7” isobaric woofers. Prana Fidelity showcased the ultimate model of its long-gestating Dhara stand-mount speaker ($9500/pair together with stands). Although squarely within the “nice” faculty of sound, the Dhara was by no means monotonous due to loads of rhythmic vitality. The crossover gives numerous choices for roll-off, resistor values, and so forth, all of that are user-switchable.

Ironically, simply throughout the corridor from the massive MBL omnidirectional system was a a lot smaller-scale—and much cheaper—execution of the omnidirectional method by Phillips Design. Making its world debut was the mannequin OH-16 ($4500-$6k, relying on end). The speaker consists of a coax mid/hello driver firing upward right into a dispersion cone, and a down-firing 12” woofer.

Martin-Logan selected AXPONA to launch a whole new line: the Motion Series. All the Motion fashions are hybrids, with AMT planar tweeters, fiberglass midrange drivers, and both aluminum or Kevlar/Nomex composite woofers, relying on mannequin. Prices vary from a mere $500 to $5500.

The Wharfedale Dovedale, one other speaker reborn from the previous, is a brand new entrant within the firm’s Heritage Series. The Dovedale hails from the 60s, when it might be bought as a package! The new model mimics the unique’s dimension and form. Each driver has its personal inside cupboard. Built within the U.Ok., the 3-way Dovedale prices $7k for a mirror-matched pair.

Another longstanding model, Definitive Technology, launched the brand new Dymension Series. Of best curiosity to two-channel audio followers would be the floorstanding DM40, 60, 70 and 80. They promote for $2–$5k/pair. Each mannequin is a bipole tower with an attenuate-able rear driver. The sound was pure and extremely coherent.

Paradigm’s new Defiance XR11 subwoofer ($4k) powers its 11” woofer with 1100 watts. The sub contains room correction and a by-product of the woofer used within the upscale Persona line. Phase, polarity, and degree can all be managed by an app.

Focal is changing its well-liked Chora line with a brand new collection dubbed Theva (the ‘h’ is silent). Designed for each home-theater and two-channel functions, the audio system vary from $1–$3k and boast upgraded cupboards, crossovers, and drivers.

AT_8 Devialet
The wi-fi, rechargeable, softball-sized Devialet Mania is the proper picnic speaker.

Finally, the Devialet Mania is a tiny moveable sphere of a speaker. Barely bigger than a softball, Mania is lively, wi-fi, rechargeable (one cost lasts 10 hours), and helps Apple Airplay, wi-fi, and Bluetooth. Grab your telephone, a Mania, and a bottle of wine and have your self a picnic anyplace.

Best of Show

Best Sound (Cost no object): Among bigger rooms, I by no means felt the enjoyment of sonic and musical discovery as keenly as with the Acora/VAC system. Within smaller rooms, kudos go to the extraordinary new Magico S3.  

Best Sound (for the cash): No contest right here. The MoFi SourcePoint 8 audio system pushed by a Hi-Fi Rose built-in amp/DAC/streamer value lower than $7 for an whole—and completely mind-blowing—system.

Most Significant Introduction: A tie between the MoFi SourcePoint 8, which exhibits simply how a lot terrific sound $3k can purchase, and the Magico S3 ($45k), which leverages the corporate’s newest design and testing expertise to create a brand new candy spot within the line.

Best Joke: In a packed elevator, Muzak wafting from the ceiling, an attendee quipped, “This is the perfect sound I’ve heard on the present.” The whole elevator exploded with laughter.

 

The put up The 2023 AXPONA Show: Alan Taffel on Loudspeakers Below $30k appeared first on The Absolute Sound.

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The 2023 AXPONA Show: Alan Taffel on Loudspeakers Below $30k

Posted on by Alan Taffel

If you’ll be able to’t make it to Munich for an audio present, AXPONA is a really shut second. This was my maiden journey to the Chicago extravaganza, however even veteran attendees marveled anew at its sheer dimension, the demographic disparity of attendees, the presence of just about each main high-end producer on earth (together with their high designers and executives), and the plethora of purposely timed product introductions. Compared to Munich, AXPONA’s most obvious lack is an effective apfelstrudel.

So, there I used to be wandering the ten flooring (plus a dozen ballrooms), trying to find audio system underneath $30k, however discovering principally fashions priced nicely beneath $10k. What was happening? The business had lastly realized that efficiently attracting a brand new, youthful, however much less prosperous clientele meant pricing its wares accordingly. Consequently—and I by no means thought I’d write this in a TAS present report—costs have been manner down. New merchandise however, that was AXPONA’s greatest information.

Most Significant

AT_1 Mission
The Mission 770 is of the New-Old School of audio system. Its sound was very good, and its value is simply $5k/pair—together with stands!

Mission M770. This speaker, making its U.S. debut, represented a number of developments. First, it’s uncontestably cheap: simply $5k/pair, together with stands. Second, like introductions from Wharfedale, JBL, Janszen, KLH, Klipsch and Tannoy, the Mission is an up to date model of an outdated speaker—on this case, the M770 that initially bowed in 1978. At AXPONA, every part outdated was new once more. Not all these seductively priced reboots have been profitable, however the Mission had a dynamic alacrity and midrange immediacy that have been absent even in lots of costly high-end audio system.

AT_2 Janszen
Janszen’s Nine.Five takes the KLH 9 as inspiration to create an almost full-range (all the way down to 200Hz) ‘stat.

Janszen Nine.Five. Another retro speaker that made the grade will get particular kudos for its willingness to play with the unique’s design. The Nine.Five takes its cue from the beloved KLH Model 9. But whereas the KLH was a full-range electrostatic, the Janszen is a practically full-range ‘stat. In the fashionable model, which runs $21,900, the planar panel covers every part from 200Hz up. Below that may be a line array of six 8” dynamic woofers. At AXPONA the low-sensitivity speaker was underpowered by AGD electronics, so Beethoven’s 7th didn’t fare nicely. However, on much less strenuous supply materials, comparable to Brubeck’s “Take Five,” the amps stored up and the audio system confirmed outstanding neutrality, convincing timbre, and glorious imaging. On no event did I hear any discontinuity between the planar and dynamic drivers. Sometimes taking liberties pays off.

AT_3 GE
GoldenEar’s slim T66 is the corporate’s first main introduction since its acquisition. Its sound bodes nicely for future releases.

GoldenEar T66. The long-delayed revamp of GoldenEar’s famed Triton sequence begins now, with this good-looking, underneath $8k/pair floorstander. The T66 marks the primary core-product introduction because the firm was acquired by the Quest Group, which additionally contains AudioQuest. Compared to its predecessors, the T66 displays noticeably superior industrial design and end. Featuring a ribbon tweeter and powered sub, the T66 sounded clean and luxurious when pushed by McIntosh tubed electronics. I’d like to listen to it with some good solid-state gear, however the T66 bodes nicely for GoldenEar’s subsequent chapter.

AT_4 Q Acoustics
Coming to America: the Q Acoustics 5000 Series from Britain.

Q Acoustics 5000 Series. This British model is extra acquainted to Europeans than Americans, however which will change with new distribution right here and selections like saying a complete new line at AXPONA fairly than ready for Munich. The 5000 sequence ranges from $750–$2000, and each mannequin options know-how from the doubly costly Concept Series. At AXPONA, powered by the at all times good-sounding Soul Note electronics, the mid-range mannequin 5040 ($1499) displayed surprisingly excessive decision and dynamics for the value. Even the cupboard was lovely.

AT_1 MoFi
The MoFi SourcePoint 8, at simply $3k, breaks new floor as to what’s potential at its value level.

MoFi SourcePoint 8. Designer Andrew Jones’ newest is a boundary buster. The SourcePoint 8 demonstrates simply how a lot audiophile-grade sound will be wrung from a $3k/pair of audio system. The SP8 is the newborn brother of the stellar SourcePoint 10—itself an unimaginable discount at $4k/pair—with the distinction being the woofer dimension. Both fashions function Jones’ trademark concentric-driver method. The SP8 might hand over a smidge of bass extension in comparison with the SP10, however its low finish stays highly effective and tight. As with the SP10, The SP8’s imaging, decision, dynamics, and just about every part else are ridiculously good for the value. AJ does it once more!

Auspicious Debuts

AT_6 Pureaudioproject
The PureAudioProject Trio 15 options interchangeable and expandable modules.

PureAudioProject makes open-baffle audio system that homeowners can modify by including or changing modules. For occasion, the midrange will be dealt with by the client’s alternative of a horn, coax, or full-range driver. The newest mannequin is the Trio 15, which features a pair of 15” woofers and the coax mid/hello for $8900/pair. Its sound at AXPONA was clean and soulful, with nice spatial dispersion. There have been no field colorations, due to there being no field.

Tannoy was yet one more model from hi-fi’s golden age that was sprucing up its outdated catalog. The Stirling LLLZ Special Edition ($12,500) relies on a 1967 design, however its components trickled down from the flagship Kensington mannequin. Like many of those retro-inspired audio system, there are consumer changes; on this case, for tweeter degree and roll-off frequency. Tannoy supplied solely a static show of the Stirling, however the Kensington, which is bigger however has similar specs, was enjoying. In the Tannoy custom, it sounded wealthy and sonorous.

Gershman XdB. The XdB is a stand-mount speaker with a distinction: the stand itself is a part of the system. As I perceive it, the stand capabilities as a bass lure, dissipating extra bass from the sealed enclosure. In one other departure, there’s an anti-vibration, mass-loading disc atop the cupboard. The audio system, $12k/pair together with stands, are rated all the way down to an impressively low 23Hz. At their AXPONA introduction, bass was shockingly prolonged and highly effective. The remainder of the spectrum was equally good, particularly when it comes to dynamics. A outstanding debut, particularly—I’ll say it once more—contemplating the value.

AT_7 JM Reynaud
JM Reynaud’s OrfeoGrande($19,500) hybrid made its U.S. debut with Jadis electronics.

JM Reynaud’s Orfeo Grande ($19,500) had its U.S. premier at AXPONA. The French firm’s new flagship mannequin employs a planar tweeter and dynamic mid and bass drivers, all of which built-in artfully. Paired with Jadis electronics, the combo sounded each bit as candy as you’d anticipate, however not overly so. There was a shocking diploma of instrumental physique and weight for such a small footprint.

Dynaudio pulled out all of the stops at AXPONA. The firm showcased three audio system: the Confidence 50, which galvanized JV; the Confidence 20, whose sound was such that it had no enterprise costing simply $13k together with stands; and the $11k Focus 50, making its first commerce present look. These are wi-fi, powered, 3-way, tri-amplified audio system with built-in streaming, room correction, and WiSA inter-speaker connectivity for low latency. Although I didn’t get to listen to the F50, I used to be impressed by its vary of help for streaming platforms (Tidal, Roon, Spotify), wi-fi connectivity (Chromecast, exterior WiSA sources as much as 24/96, AirPlay 2, Bluetooth), and hardwired inputs (Ethernet, coax Digital, TosLink, analog). As befits a very trendy speaker, every part is configurable and controllable through an app.

In Other News

 Canadian speaker firm Rethm launched the Maarga floorstander ($12,900). An energetic speaker, the Maarga incorporates a 400-watt amp to energy its quad 7” isobaric woofers. Prana Fidelity showcased the ultimate model of its long-gestating Dhara stand-mount speaker ($9500/pair together with stands). Although squarely within the “nice” faculty of sound, the Dhara was by no means monotonous due to loads of rhythmic vitality. The crossover gives varied choices for roll-off, resistor values, and so on, all of that are user-switchable.

Ironically, simply throughout the corridor from the massive MBL omnidirectional system was a a lot smaller-scale—and much cheaper—execution of the omnidirectional method by Phillips Design. Making its world debut was the mannequin OH-16 ($4500-$6k, relying on end). The speaker consists of a coax mid/hello driver firing upward right into a dispersion cone, and a down-firing 12” woofer.

Martin-Logan selected AXPONA to launch a complete new line: the Motion Series. All the Motion fashions are hybrids, with AMT planar tweeters, fiberglass midrange drivers, and both aluminum or Kevlar/Nomex composite woofers, relying on mannequin. Prices vary from a mere $500 to $5500.

The Wharfedale Dovedale, one other speaker reborn from the previous, is a brand new entrant within the firm’s Heritage Series. The Dovedale hails from the 60s, when it could possibly be bought as a equipment! The new model mimics the unique’s dimension and form. Each driver has its personal inside cupboard. Built within the U.Okay., the 3-way Dovedale prices $7k for a mirror-matched pair.

Another longstanding model, Definitive Technology, launched the brand new Dymension Series. Of best curiosity to two-channel audio followers would be the floorstanding DM40, 60, 70 and 80. They promote for $2–$5k/pair. Each mannequin is a bipole tower with an attenuate-able rear driver. The sound was pure and extremely coherent.

Paradigm’s new Defiance XR11 subwoofer ($4k) powers its 11” woofer with 1100 watts. The sub contains room correction and a spinoff of the woofer used within the upscale Persona line. Phase, polarity, and degree can all be managed by an app.

Focal is changing its well-liked Chora line with a brand new sequence dubbed Theva (the ‘h’ is silent). Designed for each home-theater and two-channel purposes, the audio system vary from $1–$3k and boast upgraded cupboards, crossovers, and drivers.

AT_8 Devialet
The wi-fi, rechargeable, softball-sized Devialet Mania is the proper picnic speaker.

Finally, the Devialet Mania is a tiny moveable sphere of a speaker. Barely bigger than a softball, Mania is energetic, wi-fi, rechargeable (one cost lasts 10 hours), and helps Apple Airplay, wi-fi, and Bluetooth. Grab your cellphone, a Mania, and a bottle of wine and have your self a picnic anyplace.

Best of Show

Best Sound (Cost no object): Among bigger rooms, I by no means felt the enjoyment of sonic and musical discovery as keenly as with the Acora/VAC system. Within smaller rooms, kudos go to the extraordinary new Magico S3.  

Best Sound (for the cash): No contest right here. The MoFi SourcePoint 8 audio system pushed by a Hi-Fi Rose built-in amp/DAC/streamer price lower than $7 for an complete—and completely mind-blowing—system.

Most Significant Introduction: A tie between the MoFi SourcePoint 8, which exhibits simply how a lot terrific sound $3k should purchase, and the Magico S3 ($45k), which leverages the corporate’s newest design and testing know-how to create a brand new candy spot within the line.

Best Joke: In a packed elevator, Muzak wafting from the ceiling, an attendee quipped, “This is the most effective sound I’ve heard on the present.” The complete elevator exploded with laughter.

 

The put up The 2023 AXPONA Show: Alan Taffel on Loudspeakers Below $30k appeared first on The Absolute Sound.

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2022 Golden Ear: T+A 200-Series Electronics

Posted on by Alan Taffel

T+A 200-Series Electronics

$4900/$5700/$6900

In my series on “Building a Compact Reference System,” I sung the praises of modular, multifunction electronics as a space-saving alternative to separate components. In creating the 200-Series, the folks at German audio powerhouse T+A had the same goal but a different idea about how to achieve it. What if, they thought, we could retain the benefits of separates—individual power supplies, physical isolation between digital and analog elements, the ability to buy only what you need—but conserve space by making those separates smaller? Thus was the petite 200-Series born. The series comprises a multi-format (CD, HDD, streamer) player, a Roon-ready DAC/pre with both digital and analog inputs, and a stereo power amp. Together, the stack runs $17.5k, which isn’t cheap but is still a deal for what it is. For instance, I’ve compared the 200-Series with my more than twice as dear CH Precision integrated amp, the I1, and the result was startling. The T+A stack was nearly indistinguishable from the far-costlier Swiss equivalent. The CH I1 does have a little more dynamic jump and slightly more fleshed-out tonality. But, boy, is it close.

Aside from sonics, the 200-Series components are achingly attractive—in a retro-audio sort of way—and feature myriad thoughtful touches. These include the ability to stick in a thumb drive, a technically correct (and excellent-sounding) BNC SPDIF input, and control connections between the components that allow the threesome to behave more or less as one. If I were searching in this price range for a compact, versatile electronics stack, I would look no further than the T+A 200-Series.

The post 2022 Golden Ear: T+A 200-Series Electronics appeared first on The Absolute Sound.

World News

2022 Golden Ear: T+A 200-Series Electronics

Posted on by Alan Taffel

T+A 200-Series Electronics

$4900/$5700/$6900

In my series on “Building a Compact Reference System,” I sung the praises of modular, multifunction electronics as a space-saving alternative to separate components. In creating the 200-Series, the folks at German audio powerhouse T+A had the same goal but a different idea about how to achieve it. What if, they thought, we could retain the benefits of separates—individual power supplies, physical isolation between digital and analog elements, the ability to buy only what you need—but conserve space by making those separates smaller? Thus was the petite 200-Series born. The series comprises a multi-format (CD, HDD, streamer) player, a Roon-ready DAC/pre with both digital and analog inputs, and a stereo power amp. Together, the stack runs $17.5k, which isn’t cheap but is still a deal for what it is. For instance, I’ve compared the 200-Series with my more than twice as dear CH Precision integrated amp, the I1, and the result was startling. The T+A stack was nearly indistinguishable from the far-costlier Swiss equivalent. The CH I1 does have a little more dynamic jump and slightly more fleshed-out tonality. But, boy, is it close.

Aside from sonics, the 200-Series components are achingly attractive—in a retro-audio sort of way—and feature myriad thoughtful touches. These include the ability to stick in a thumb drive, a technically correct (and excellent-sounding) BNC SPDIF input, and control connections between the components that allow the threesome to behave more or less as one. If I were searching in this price range for a compact, versatile electronics stack, I would look no further than the T+A 200-Series.

The post 2022 Golden Ear: T+A 200-Series Electronics appeared first on The Absolute Sound.

World News

2022 Golden Ear: Empirical Design Cables

Posted on by Alan Taffel

Empirical Design Cables

Prices Vary

Empirical Design is probably the most under-the-radar, over-the-top-performing high-end cable company in existence. It’s been my reference for nearly 20 years, along the way winning two previous Golden Ear Awards. But those were back in the aughts. It’s worth noting that, through constant incremental evolution, these cables and power cords have retained what originally set them apart: top-notch parts-quality, straightforward topologies, hand-built construction, and a price roughly one-tenth that of cables of comparable merit. Recently, two events reminded of these cables’ unique attributes. First, the sonics of a review component were transformed—no exaggeration—by the insertion of a $240 Empirical Design power cord. Second, some fancy-pants speaker cable recommended by the speaker’s manufacturer was shown up by the far more neutral ED wire. At prices in the hundreds rather than the thousands, these cables are a no-brainer investment for most systems.

The post 2022 Golden Ear: Empirical Design Cables appeared first on The Absolute Sound.

World News

2022 Golden Ear: Empirical Design Cables

Posted on by Alan Taffel

Empirical Design Cables

Prices Vary

Empirical Design is probably the most under-the-radar, over-the-top-performing high-end cable company in existence. It’s been my reference for nearly 20 years, along the way winning two previous Golden Ear Awards. But those were back in the aughts. It’s worth noting that, through constant incremental evolution, these cables and power cords have retained what originally set them apart: top-notch parts-quality, straightforward topologies, hand-built construction, and a price roughly one-tenth that of cables of comparable merit. Recently, two events reminded of these cables’ unique attributes. First, the sonics of a review component were transformed—no exaggeration—by the insertion of a $240 Empirical Design power cord. Second, some fancy-pants speaker cable recommended by the speaker’s manufacturer was shown up by the far more neutral ED wire. At prices in the hundreds rather than the thousands, these cables are a no-brainer investment for most systems.

The post 2022 Golden Ear: Empirical Design Cables appeared first on The Absolute Sound.

Uncategorized

2022 Golden Ear: Empirical Design Cables

Posted on by Alan Taffel

Empirical Design Cables

Prices Vary

Empirical Design is probably the most under-the-radar, over-the-top-performing high-end cable company in existence. It’s been my reference for nearly 20 years, along the way winning two previous Golden Ear Awards. But those were back in the aughts. It’s worth noting that, through constant incremental evolution, these cables and power cords have retained what originally set them apart: top-notch parts-quality, straightforward topologies, hand-built construction, and a price roughly one-tenth that of cables of comparable merit. Recently, two events reminded of these cables’ unique attributes. First, the sonics of a review component were transformed—no exaggeration—by the insertion of a $240 Empirical Design power cord. Second, some fancy-pants speaker cable recommended by the speaker’s manufacturer was shown up by the far more neutral ED wire. At prices in the hundreds rather than the thousands, these cables are a no-brainer investment for most systems.

The post 2022 Golden Ear: Empirical Design Cables appeared first on The Absolute Sound.

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Metronome DSC Streaming DAC and Digital Linestage

Posted on by Alan Taffel

How ironic it is that one of the paramount aspects of good sound is silence. Yet there it is. Even a subtly noisy background can obscure sonic details, truncatedecays, diminish dynamic range, and subconsciously distract the listener from the music. Another type of noise, the kind that isn’t in the background but rather gloms on to individual notes or instruments, ruins the purity of those sources and taints the illusion of being in the presence of live performers.

My ruminations on noise began just moments after an initial listen to the Metronome DSC streaming DAC and digital linestage. In that session, the absence of noise was overwhelming. I knew immediately that this was the least noisy digital component I’d ever encountered.

The DSC’s lack of detrimental noise is no accident. Indeed, banishing noise was one of Metronome’s design priorities. The company made the chassis uncommonly thick and heavy, even by high-end standards, and built it out of solid aluminum to shield the DSC’s guts from RF and other airborne noise.

Internally, the Metronome employs ESS’s latest flagship DAC, the 32-bit Sabre ES9039PRO, chosen for its vanishingly low distortion figures and extraordinarily high dynamic range. Further, the ES9039PRO features an integrated jitter-reduction circuit, thereby addressing time-based digital artifacts. Power-supply strain can also contribute distortion, so Metronome bestowed the DSC with not one but three transformers.

Metronome DSC rear

Lastly, Metronome attacked the single most entrenched source of noise in digital linestages: the volume control. As Robert Harley explained in Issue 331, traditional digital volume controls, even those operating in a high-bit range, significantly reduce resolution and impart distortion as volume is reduced. Metronome eschewed this approach entirely, opting instead for the latest in digital-volume-control technology: Leedh. As Robert described, Leedh cleverly eliminates the sonic demerits inherent in traditional digital volume controls.

As I’ve already revealed, these combined techniques do a remarkable job of quelling digital noise. What’s left—other than music—is silence. And I don’t mean the kind of “dead” silence that can plague digital backgrounds and notes. The DSC’s silence is akin to that of good analog; it’s completely natural. This achievement would be of little more than academic interest if the DSC wasn’t also stellar at conveying music. Fortunately, it is.

Before getting to the specifics of its sound, a few words on the DSC’s incredible versatility are in order. This isn’t just a DAC or even a streaming DAC; rather, the DSC is designed to serve as the sonic nerve center and functional control point of a high-end system with virtually any combination of digital sources. Besides the built-in streamer, the DSC has inputs to accommodate PCs, CD transports, a TV HDMI output, and USB, SSD, and NAS drives. To complete the system, all that’s needed is a power amp and a pair of speakers.

The streamer itself will play anything from Tidal, Qobuz, Spotify, or Deezer via either a wired or Wi-Fi (via an optional dongle) internet connection. External digital sources can be PCM up to 384/32 or native DSD up to DSD512. There’s also full support for Roon, MQA, Apple AirPlay, and Google Chromecast. As for outputs, the back panel offers both XLR balanced and RCA unbalanced ports, as well as a SPDIF digital out. See what I mean about the DSC’s versatility?

In fact, you might not need everything the DSC offers. In that case, Metronome has you covered. If you already have an analog linestage with a top-notch volume pot, you probably don’t need Leedh—or any digital volume control. For this scenario, Metronome offers the somewhat less expensive DSC1—a DSC without the digital linestage. Likewise, if you already own a DAC that you’re happy with, you can buy a streaming-only version of the DSC, called the DSS, and save a few more kilobucks. Frankly, though, there are few DACs out there up to the standards of the DSC.

Which leads us, at last, to the DSC’s sound. Because of the multi-functional nature of the unit, I approached its evaluation both in parts and as a whole. To find out how the Metronome fared as a combo-meal streaming DAC and linestage, I compared it to my similarly flexible CH-Precision I1 integrated amp. Although the I1, fully loaded, costs about $50k, that sum includes a power amp. Take that out of the equation and the two would find themselves in roughly the same price range. Given that CH Precision builds some of the best digital circuitry on the planet, I was posing the DSC a serious challenge.

Since both units support Roon, I opted to use my Roon Nucleus+ as the Roon Core and Roon’s own renderer in both cases. This eliminated multiple variables in the comparison, allowing me to truly compare streaming DACs and linestages. The approach also had the fortuitous effect of endowing both components with a common user interface, one that I could even use to switch from one component to another on the fly.

A note for those without Roon. Metronome doesn’t offer a proprietary UI/renderer. Instead, the company suggests using the third-party apps mconnect and mconnect Lite. Although I had decided to use Roon for the comparison, due diligence nudged me to try out mconnect. I found both its sound and its ergonomics to be no better than serviceable—certainly not in Roon’s league on either score. Thus, if you’re going to buy a DSC, I strongly suggest getting Roon as well.

So, how did these two pricey streamers/DACs/linestages compare? It pains me to say this, but the DSC bested my CH I1. One track, the opening movement of the Harmonia Mundi version (note: not my usual Pentatone recording) of Stravinsky’s Histoire du soldat, told the tale. Although it sounded superb through the CH Precision, as everything does, the DSC brought out more in terms of timbral colors and subtle dynamic flourishes. Moreover, the Metronome was both lighter on its feet—and thus more compelling rhythmically—and richer in tonality. That’s a rare combination, and it makes for incredibly engaging listening.

The same held true on Jeff Tweedy’s beautiful “Even I Can See” from Love is the King. Once again, I listened through the CH I1 and thought the song couldn’t possibly sound better. Then I switched to the DSC, which delivered everything the CH did plus more openness and instrumental dimensionality.

Steely Dan’s “Black Cow” was another case in point. The DSC expunged some of the brass’ tendency toward edginess and splash. Instruments were rounder—more analog-sounding—and spread more evenly across the soundstage. Bass, too, gained dimensionality and verve. All this, along with greater detail resolution.

How are all these improvements possible? The common thread is less noise. With less digital hash on singers and instruments, and a lower noise floor to boot, the DSC simply allows more music to come through. In comparison, the CH sounds “smudged.”

Employing the DSC and I1 as straight DACs yielded much the same result. For a digital source, I employed the excellent CD transport enclosed in my Bryston BCD-3 CD player, running it into the DSC and CH via BNC. Starting with my usual Michael Wolff 2am CD, the CH, paired with the ultra-revealing Acora SRB speakers, provided a glorious rendition. The sound was full, rich, and dynamically persuasive. Top piano notes sparkled, just as they should, while the standup bass had power and the proper distinctive character.

Before switching to the DSC, I also played “Waiting,” the charming opening vocal number from the Broadway musical The Band Visits. When the chorus comes in, the CH illuminates every intricately woven harmony. I wrapped up this session with “Old Man” from Neil Young’s Live at Massey Hall. Once again, I shook my head at how realistic the recording sounded.

Could the Metronome sound even better? It could and did. All the things the CH does right is 95% of the DSC’s sound. But the Metronome has that extra 5%, and it consists—as it did with the streamer as a source—of a more three-dimensional soundscape and greater timbral density. This, combined with less edginess, makes the listening experience both more relaxed and more engaging.

With its winning combination of sound quality—made possible by a groundbreakingly low level of noise—and versatility, the Metronome DSC is one of the most advanced and impressive streaming DACs on the market. While $31,000 might seem like a hefty chunk of change for such a component, remember that the DSC plus an amp and speakers is all you need to build a complete system for digital sources. That puts the DSC in direct competition with something like the dCS Rossini Apex. Sure enough, the two units are nearly identical in price.

In sum, if you’re looking for a streaming DAC plus linestage that stands out from the crowd, both technically and sonically, overlook the Metronome at your peril. The DSC is my new reference streaming DAC, outperforming some of the world’s best competition. By tamping down the noise that we take for granted in digital playback, the DSC reveals a world of music.

Specs & Pricing

Type: Network streamer, DAC, and digital linestage
Digital inputs: HDMI I2S PCM and DSD, S/PDIF RCA, AES/EBU XLR, TosLink, USB Type B PCM, DSD
Digital outputs: SPDIF (RCA)
Analog outputs: Balanced (XLR), unbalanced (RCA)
Formats supported: PCM up to 384/32, native DSD up to DSD512
Digital processing: Leedh
Supported services: Tidal, Qobuz, Spotify, Deezer, vTuner (internet radio)
Features: Full MQA decoding, Roon Ready, Apple AirPlay (via Wi-Fi optional dongle), Google Chromecast (via optional Wi-Fi dongle)
Finishes: Black, silver
Dimension: 430 x 105 x 430mm
Weight: 17 kg
Price: $31,000

Wynn Audio (North American Distributor)
Unit 31, 20 Wertheim Court
Richmond Hill
Ontario, Canada L4B3A8
(212) 826-1111 (US)
(647) 995-2995 (Canada)
wynnaudio.com
[email protected]

Associated Equipment
CD player/transport: Bryston BCD-3
Electronics: CH Precision I1 universal amplifier (phonostage, DAC, streamer, linestage, power amplifier)
Speakers: Acora SRB, Stenheim Alumine 3
Cables and power cords: Empirical Design
Room treatment: ASC Tube Traps
Footers: Goldmund Cones

The post Metronome DSC Streaming DAC and Digital Linestage appeared first on The Absolute Sound.

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