Category Archives: REVIEWS

The Deep Core 1800 Power Conditioner

One of the things we always battle as audio enthusiasts is the effect that power has on our systems.

Whether you look at power as a giant pool that you tap into with your power cord or a stream that’s come a long way to get to you, there is still a fair amount of noise and audible grunge in the AC power that runs your audio system.

Again, some take the perspective that your amplifier’s power supply should effectively filter out whatever’s in the AC line. However, not all power supplies are created equal. Some are more effective than others – it’s no surprise that many of the world’s finest, (most expensive and heaviest,) almost always have massive power supplies, with gigantic mains transformers and banks of enormous filter capacitors.

Are you with me or against me?

If you’re of the mindset that power conditioning doesn’t matter or make a difference, there’s no point in reading any further. But if you’re with me, and you think that your HiFi system is like any other electromechanical device benefitting from fine-tuning, read on.

While the Deep Core is described as a power conditioner and can be used alone as a treatment option for your AC line, the Deep Core website suggests that for best results, it be used in front of your favorite power conditioner. Close listening to a few different conditioners from Clarus, ISO-TEK, Running Springs, and Torus confirm this, though in front of my PS Audio P15, (which actually regenerated a new AC signal) the Deep Core had no discernable effect. However, with all other passive conditioners at my disposal, this is a very worthwhile addition.

Adjusting the Deep Core in this manner is like fine-tuning VTA on a turntable when you hit the perfect spot, the music reaches a higher level of clarity, with more focus and transparency. Go slow, and you’ll know when you hit it.

This will depend on what you are starting with. In my main listening room, which has relatively new wires and a new AC panel, was not quite as grungy as in my living room, with the 60-year-old wiring. Interestingly, the PS Audio P15 in the studio registers about 1.8% distortion on the AC line, where the one in the house registers 3 – 4% on a regular. Garbage in, garbage out directly relates to how transparent your audio system will sound, because your amplifier at its lowest level is essentially modulating the AC power from the wall with a music signal. So the fewer artifacts in that carrier signal result in a more realistic presentation.

Bottom line, it works

I’ve always experienced power line conditioning products to have a more noticeable effect on vacuum tube gear than solid-state, and the Deep Core offers the same result. Interestingly enough, regardless of circuit topology in the source component, the Deep Core had a more profound effect on lower priced gear, no doubt because these components do not have as sophisticated power supplies as those further up the range.

Proof for the snubbing effect took no more than powering up my vintage Dynaco Stereo 70, which always makes a nasty click through the speakers. Via the Deep Core, tweeter destroying clicks are a thing of the past. My mid 80s vintage Linn LP-12 is guilty of the same offense. Again, its crimes pardoned with the Deep Core in place. If you happen to be riddled with noise in your environment from an older furnace or appliance somewhere, the Deep Core may be the only thing that cleanses the artifacts these things produce from your listening environment.

Power products are basic – you either hear the difference they make in your audio system or you don’t. Some change the sound without necessarily improving the presentation or revealing more musical detail.

After trying the Deep Core in a few different system configurations, it unmistakably does reveal more music with no shortcomings. Transients aren’t compromised, and the bottom end is not smeared – another sin that more than one power conditioner has committed during the audition process. Best of all, more musical detail is revealed, without the mid to high range becoming etched, harsh, or overemphasized. This is much harder than it sounds. That’s why most power products ultimately end up being unplugged in favor of the existing devil in the wall socket.

Trying not to go all Darth Vader on you, when you plug a Deep Core into your system, you should hear your soundstage get bigger, and thanks to the noise floor going down, things should sound slightly louder at the same volume level. As always, queue up a few tracks you know intimately. If you already have a power conditioner in your system, insert the Deep Core in front of the existing power conditioner, and as always, use the highest quality power cord between Deep Core and the wall socket.

I started with new and old acoustic tracks from Crosby, Stills and Nash, along with some of my favorite Kurt Vile tunes. Densely packed rock records still sound cleaner, but delicately layered vocal compositions are going to have you smiling faster. Those who’s tastes lean towards female vocal audiophile recordings will freak out instantly.

Once you’re really comfy with Deep Core, having gone back through a few cycles of auditioning it in and out of the system, get ready to fine-tune with the contour control. If you can enlist the help of a friend, this will make the process much more comfortable, because you can be sure of staying in relatively the same listening position. Going in about 5-degree increments slowly will take you to the sweet spot.

With a claimed capacity of 1800 watts, the average to slightly above average system will be good to go with a Deep Core. Plugging a gigantic, high current draw power amplifier will tax the Deep Core, and you will hear a flattening of musical transients at extreme volume. You’ll know when you’ve gone too far. Then you’ll have to decide which part of your system is more important to cleanse or perhaps invest in a second one. At $1,295 the Deep Core is by no means crazy money, and in the context of the improvements it makes, an excellent bargain.

https://www.underwoodhifi.com/products/deepcore-1800

The CORE POWER Deep Core 1800

Peripherals

Analog Source AVID Ingenium Plug N Play

Digital Source Gold Note CD-1000

Amplifier VAC Sigma 170i, Pass INT-60, PrimaLuna EVO400

Cables Tellurium Q Black Diamond

Original article: The Deep Core 1800 Power Conditioner

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The AVID Ingenium Plug&Play turntable

Listening to Simon and Garfunkel’s classic, Bridge Over Troubled Water, on AVID’s Ingenium Plug&Play table is not only highly satisfying but clearly illustrates how much difference the turntable makes in the analog equation.

Too often, I’ve seen audiophiles put a mega cartridge on a mediocre turntable/tonearm combination expecting excellence. But like a backyard mechanic that thinks merely putting a big engine in a car that is not capable of handling the extra horsepower will guarantee more speed, the same applies to your analog front end. It’s a system and should be treated as such. Too much or too little performance in any area throws off the balance, and in the end, throws away resolution. The AVID Ingenium Plug&Play is perfection in the sense that it all works together optimally.

An often-quoted audiophile truth states the source is the most essential part of your system, because if you don’t have the musical information to begin with, what’s downstream won’t matter, or at least not as much. To that end, AVID’s founder, Conrad Mas believes that the platform provided by the actual turntable as a stable mechanical platform is perhaps the most important. If you’ve visited an AVID demo at a dealer or hifi show, no doubt you’ve experienced his good/better/best demonstration, where he puts a mid-grade tonearm and cartridge on three different turntables in the AVID line. It’s always a straightforward exercise hearing how much more music is revealed as you go up the AVID range, proving that the table does make a massive difference.

Big sound indeed

Coming full circle, the same thing applies here. The Ingenium Plug&Play centers around the Ingenium turntable, which is a fantastic product on its own. For those interested, I own Ingenium #0001, so I’ve had as much seat time with the Ingenium as anyone but Mr. Mas himself. The level of fit and finish here at $1,795 with the Rega sourced arm and cartridge is nothing short of stunning. The key to the success of the Ingenium’s big sound is the main drive/sub-platter/bearing assembly, made to the same high standard as AVID’s flagship tables, with AVID’s inverted bearing design. It also uses the same high quality, machined center clamp equipped with every AVID table.

Having experienced this tonearm on Rega and other tables that are similarly priced illustrates that the much lower mechanical noise floor of the Ingenium extracts more musical information from this arm than anywhere else I’ve heard it used. The machined, minimalist chassis is used with a combination of three elastomer pucks. Not actually suspended in the classic sense, but not firmly coupled in a solid plinth way either.

While discussing various aspects of the Ingenium’s design, Mas mentions that the Ingenium is now only available as a Plug&Play, in both black and white finishes, it is no longer available sans tonearm. The aluminum platter will be forthcoming, so a sequel to this review is already in the works. And those of you that have a standalone Ingenium possess an instant classic.

Skip the setup

Whether you’re new to analog or a seasoned enthusiast, having a turntable optimally set up is critical to getting every bit of performance you’ve paid for. However, if you’re new to the game, it’s easy to get it wrong – no shame to that. As a result, more manufacturers are starting to sell pre-packaged turntable/cartridge combinations that need little more than unboxing, but most of these are budget tables in the $300 to $500 range. That’s great to get started, but as your excitement for spinning records grows, you quickly outgrow the tables in this range.

The Ingenium, a perfect choice for the analog enthusiast craving more performance than the budget tables, offer but isn’t quite ready to jump off the cliff for a much more expensive model. It unboxes in a few minutes – all you need do is install the drive belt, mount the platter, and remove the stylus guard. Double-checking the factory alignment of the cartridge with our Analog Majik tool suite reveals near-perfect alignment. More than good enough for all but the most obsessed. If you’ve spent the money on this level of tools, chances are you’ve moved up the range with your turntable as well. Kudos to AVID for doing a great job with the factory setup.

This reveals another aspect of AVID tables that is a major bonus. Once you set them up, they stay set up. In nearly a dozen years of using AVID tables daily, they are not fiddly turntables at all. It’s also worth noting that when checked, the speed accuracy of the Ingenium is right on the money.

Should you need performance beyond the Ingenium (even with the aluminum platter) this table is resolving enough to accommodate a better phono cartridge. To keep this as “plug and play” as possible, I’d suggest staying in the Rega range of cartridges, or something that has the same stylus tip to top of cartridge body measurement. (I believe about 15mm here) Then you won’t have to resort to spacers and the like to keep VTA where it should be. Or you can just play records and enjoy it!

Returning to the program

Spinning an old copy of Peter Gabriel, a record I’ve listened to thousands of times over the years, I’m taken back at how much nuance this table reveals. All of the care that went into Gabriel’s first solo album is readily available, and the Ingenium does a fantastic job of painting a large, three-dimensional sonic picture. The harmonies at the beginning of “Excuse Me” is absolutely brilliant – this is the kind of thing that draws people to analog in the first place.

Running the gamut, the Ingenium delivers a finely detailed upper register and well-controlled bass. The elastomer pucks supporting the chassis, do an excellent job at insulating the cartridge from the environment. Bass-heavy tracks can be enjoyed at high volume levels without acoustic feedback, and this is a plus.

As with all the other AVID tables I’ve owned and reviewed, the Ingenium shares a signature core sound that is lively, detailed, and never overdamped. The sense of musical pace is easily discernable. It draws you into the music, wondering “what’s different here,” when compared to listening to the same tracks streamed on a similarly priced DAC. As it should be.

Tipping point

$1,795 is a serious investment for most music lovers, so if you’ve come this far, chances are very good that you’re more than just a casual vinyl lover. For many, the Ingenium Plug&Play will be an excellent destination turntable, especially considering that the platter and cartridge can be upgraded further.

There is a point at which analog really draws you in and makes you crave more. I feel getting to this point requires more than the budget tables offer. This is what the Ingenium Plug&Play gives you at a cost that won’t break the bank, yet still provides a reasonable upgrade path should you want even more analog enjoyment. Well done.

And that is what makes the AVID Plug&Play The Audiophile Apartment’s Product of the Year in the Turntable category.

www.avidhifi.com

Original article: The AVID Ingenium Plug&Play turntable

Please note that all TONE Audio copy and photography is © 2005–2018 TONE Magazine LLC. This RSS feed is provided for personal, non-commercial use only.

If you are not reading this content in your news aggregator, RSS reader, or direct, then the site you are looking at may be guilty of copyright infringement. If you locate this anywhere, please contact [email protected] so we can take action immediately.

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The Rega Apollo CD player

Everything seems to come around. With all the excitement for streaming building at a feverish pace, some people still like the old-fashioned way of serving up digital; namely, spinning a silver (or maybe gold) disc.

World-renowned turntable manufacturer Rega was one of the last manufacturers to produce a CD player, but when they finally did put their engineering mettle to the task, their players were brilliant. And very analog sounding. Years later, nothing has changed, and their new $1,095 Apollo is by far the most sonically engaging players we’ve heard at anywhere near this price. CD player? Have we gone mad in this world of curated playlists? Read on.

Taking up a tiny footprint only about 8 inches wide, 3 inches tall and 12 inches deep, the Apollo is meant to be a perfect bookend to Rega’s remarkable Brio integrated amplifier, but it looks awfully nice on the Quadraspire rack with my Nagra Tube DAC. Patterned after the rest of the players in their lineup, the Apollo uses the same Starship Enterprise shaped lid for the transport. Rega’s Roy Gandy is a brilliant man with a wacky sense of humor, so one never knows if this is on purpose or random. Either way, this manual lid assures that it is not another mechanism that will fail ten years later – Rega is always the master of simple elegance.

Fit, finish, and functionality is always top of the class, and the Apollo feels much more expensive than its price suggests. As well as feeling rather heavy for its price. The front panel features a large display, flanked by a power button on the left and 4 buttons to control transport functions on the right. That’s it. Perfect.

Quite the comeback

Several audiophiles that have ditched the compact disc in favor of streaming or vinyl have been sneaking back, with surprising results. On my recent podcast with John Darko of Darko Audio, he admits “I recently picked up a couple thousand CD’s at a great price recently. I like to start my day with a CD over the morning coffee.” Fascinating, captain.

Much as I love a well-oiled record player that’s set up to perfection, or a mile long Qobuz playlist, there is something pure about putting a disc in, pressing play, and hearing a full album from start to finish. “As the artist intended,” I believe the expression goes. Without having to get up and flip the record over. Not bad. Following Mr. Darko’s lead, I substitute the morning coffee for a dreadful bit of wheatgrass, and a copy of Brian Eno’s Thursday Afternoon. With absolutely no worries about network issues. Sixty-eight minutes fly by.

The Apollo comes out of the box with a sound that is tonally neutral, free of digital artifacts, and full of life. To get immediate perspective, the Apollo is put in comparison with a stack of Nagra Classic gear (amp, preamp, and DAC) driving a pair of Focal Stella Utopia Ems, with a dCS Bartok along for the ride in input two. The Apollo makes an excellent debut, and when switching back and forth between the much pricier competitors, the lines are quickly drawn.

Where was sound this good 30 years ago?

Had digital sounded this good, this natural 30 years ago, who knows how things might have shaken out in the music business? In the early 90s, big bucks digital was just starting to engage, but nearly everything for a thousand dollars sounded like rubbish. Harsh, brittle, and lacking in tone. I know, I was there.

Leave it to Rega, a company that’s always been a little bit behind on the trendy curve, (but over the top on the engineering curve) to build a player that’s this good for this price. Centered around the latest Wolfson WM8742 DAC chips and their own analog stage, all carefully implemented in a compact case. According to Rega’s Terry Bates, the players designer, the analog output stage is entirely different. (Again, you’d expect nothing less from Rega) He refers to it as “A discrete implementation of an op amp with a nod to forgotten about 1960s amplifier circuitry with class A output.” In short, Bateman calls the Apollo “greater than the sum of its parts,” and we concur.

Tracking through an original digital pressing of Peter Gabriel’s Security, (the fourth album to many of you) the dynamic range of this player is stunning, offering considerable weight and drive. The Apollo keeps the pace with the densely packed, thunderous drumming on the opening track, offering compelling low-level resolution during the quiet beginning of “Lay Your Hands on Me.” This is a ton of fun listening to a disc, long since ripped to NAS, that was one of the first CDs I purchased back in the 80s, with its massive “full digital recording” sticker on the cover.

The far reaches of the audio spectrum are equally well represented. The deep, growling bass at the beginning of Charlie Sexton’s “Plain Bad Luck and Innocent Mistakes” puts the Focals to the task and rattles everything on the coffee table. Sorry, you can’t stream Under the Wishing Tree on Tidal or Qobuz, so there are times when a player comes in handy.

The transport option

Where many of today’s digital enthusiasts add a modestly priced vinyl deck to their system to dip their toes in the pool of spinning black discs, the Apollo is a perfect choice for those going the other way. With so many CDs popping up at yard sales and in used CD stores, there’s a lot available for next to nothing. And you don’t have to worry about backing it up either.

Thanks to an optical and coax digital output on the back panel, the Apollo can be used as a transport for those with higher quality DACs, powered speakers, or an all in one product like the Linn Selekt DSM, or the Simaudio MOON 390.

Used as a transport with all of these proved excellent, but returning to the Nagra TubeDAC proved to be the best combination. The Apollo as transport feels right at home plugged into this $20,000 DAC, and when playing 16/44 files, the sound from this combo often sounds more musical than what is streamed.

A perfect partner

Regardless of what you plug the Apollo into, the results are highly rewarding. In the context of a primary budget system, it holds its own and often betters the sound of turntables at the same price point. While our Rega P3/Exact combination still offers a bit more warmth and palpability through the midband, the Apollo corners the market on dynamics, and low bass punch. The two together make a formidable pair, offering the best of both worlds for a reasonable price – but that’s always been the Rega ethos.

Yet plugged into a six-figure system, the Apollo doesn’t disappoint in the least. Of course, it does not have the finesse you’d expect from a DAC or player that costs as much as a used Audi, but the basics are firmly in place, and that’s what makes the difference between digital being engaging or not.

Whether you use an Apollo as a full function disc player, or merely a transport, it will serve you well. In addition to giving it one of our Exceptional Value Awards, we’ve purchased the Apollo for our permanent collection, and it will be receiving a Product of the Year award over at The Audiophile Apartment. Can you feel the love?

The Rega Apollo CD player

$1,095

Rega.co.uk

soundorg.com. (US Distributor)

Original article: The Rega Apollo CD player

Please note that all TONE Audio copy and photography is © 2005–2018 TONE Magazine LLC. This RSS feed is provided for personal, non-commercial use only.

If you are not reading this content in your news aggregator, RSS reader, or direct, then the site you are looking at may be guilty of copyright infringement. If you locate this anywhere, please contact [email protected] so we can take action immediately.

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The Mytek Liberty DAC

It’s the week of Halloween here in the Midwest, which mean a few things – crisp air, beautiful colors, falling leaves, and warmer clothes, but it also means the usual plethora of haunted houses. They pop up everywhere, and inevitably, someone tries to goat me into joining them on their adventure to one.

Each time, I politely decline. Seemingly without fail, the other party presses me about it, saying something like, “What’s the matter, don’t you like to be scared?” My reply is always the same, that people in costumes jumping out at you is not the definition of scared, it’s being startled. I am not interested in paying for the experience of being repeatedly startled.

However, in putting the Mytek Liberty DAC into my main listening system this week, I was just that- startled, but in a very good way.

Unboxing

The Liberty is conveniently one third the size of the Manhattan or Brooklyn Bridge from Mytek, making it a great fit into many systems. One control adorns the front panel, handling all source and gain duties. The black and gray finish sets off a sleek look, complimented by patterned vent holes in the top. Solid and well constructed, the Liberty is a featherweight component at only three pounds.

Listening

The disc I began my evaluation with (Jon Batiste’s Hollywood Africans)sounds even better now that the Liberty has a few hours on the clock. Using the Pioneer Elite DV79-AVi’s coaxial output into the first S/PIDF input of the Liberty- In particular, skipping to track 4, “Saint James Infirmary Blues.” I can hear Batiste’s lips part just before he sings. The reverb in this recording makes my room sound like an old New Orleans church. Voices come from the rafters, and the sax comes right out of the wall. It’s the piano, though, that pushes me back. Never has piano sounded this natural in my system or my room. I have always found it the hardest instrument to reproduce accurately. The Liberty gives it breath and life.

Spinning the classic track from Guy Clark’s album Texas Cookin’, “Anyhow, I Love You,” is where I got startled. I had listened to the song before having the Liberty in place, but now with it in the system, there was a striking new detail. Just before the female voices come into join Guy, I can now distinctly hear them inhaling in the left channel. To make sure I wasn’t losing my mind on this, I took the disc, and played on another system in my house, and that breath was not noticeable. Now, playing it once again through the Mytek Liberty, it is there, clear as day. When I first heard this, my head went right towards that speaker, thinking my wife was standing there, about to say something to me, but it was buried deep inside a 1976 recording. It made my heart race a little.

It also makes me crave a live recording, since this level of realism is getting so enthralling. On the Mobile Fidelity Sound Lab’s gold release of Peter Frampton’s Frampton Comes Alive!,“Penny for Your Thoughts” rings in this room with striking clarity. Solo guitar with a crowd that I feel part of. Since the electric guitar is my other vice, I can’t help but indulge in the anthemic bliss of “Do You Feel Like We Do.” Everyone has that overplayed FM staple that never got old for them, and this is mine. There are a lot of huge dynamics in this song, lost if you only ever heard it on the radio. The peaks, which need to be played at concert volume, are large and full, with Frampton’s Les Paul Custom grinding big and fat out of both channels. The valleys get low, with a subtle ride cymbal, and then a pulsing high-hat, while the audience reacts. I’ve heard this song thousands of times, but the Liberty is giving me much more clarity from Frampton’s amps. I can hear more of the individual audience members. The iconic talk box solo sings with more soul. It’s a more elevated live listening experience, overall.

Just Ones and Zeros?

I’ve been doing the majority of my listening with the Pioneer Elite, but I did make use of all four digital inputs on the Liberty. With S/PDIF 2, I connected mt Sony ES changer, and utilized the Toslink input for my TEAC CD recorder. While the Mytek does a splendid job with all three of them, it will very quickly demonstrate that all transports are not the same. There are clear, audible differences between all three units, with the more expensive Pioneer Elite outshining it’s more economical cousins in my system.

Upon receiving the Liberty, I quickly made the decision that I wanted to utilize the USB input with my 6th generation iPod touch. I purchased a Lightning to USB and plugged in to find that there was no response. A quick call to the very friendly and very helpful people at Mytek provided a solution. Since the Liberty does not supply any power from the USB, a specific adapter needs to be used. With the procurement of an Apple USB 3 Camera adapter, suddenly, I was in business!

Here again, this is a fantastic experience. Playing the iPod digitally through the Mytek Liberty yields a remarkably satisfying, rich, event that I’ve never had from my little device before. My playlists are now suddenly far more useful and enjoyable, and not just for the car anymore.

Use of the Liberty

As a DAC, the Mytek Liberty is wonderfully straight-forward. The single knob to the right, when pressed, switches between the four input sources. When turned, it increases or decreases the output level. The LED display shows either your source or volume level. I am using the unbalanced RCA outputs, but ¼’ balanced outputs are provided as well. There is a built-in MQA hi-res decoder. Conversion is up to 384K, 32 bit PCM. Native DSD up to DSD256.

Getting into My Head

Besides being a stellar DAC, the Mytek Liberty is also a serious headphone amplifier, so it’s time to switch off these speakers, and cozy up to the system. Grabbing my Sennheisers and a copy of Blind Faith, I plug in. Here is where the multi-purpose control becomes very handy, as this is now the volume control. On “Presence of the Lord,” the Liberty instantly shows that it is right at home with the great Mytek products I’ve been hearing for years, including its big brother, the Manhattan. The Liberty presents a large soundstage in the headphones and loses me in this disc, rather than sounding like a couple of cans on my ears. Detail is just as sharp and striking coming out of the front of the Liberty as from the rear outputs.

Wrapping it Up

Mytek packs an incredible amount of sound and technology into a very small package with the Liberty DAC, and at a fantastic price. To get a DAC with this much striking detail, plus a formidable headphone amplifier, all in a 1/3 rack space is just amazing. I don’t like to be scared, but I might be changing my tune on being startled.

Original article: The Mytek Liberty DAC

Please note that all TONE Audio copy and photography is © 2005–2018 TONE Magazine LLC. This RSS feed is provided for personal, non-commercial use only.

If you are not reading this content in your news aggregator, RSS reader, or direct, then the site you are looking at may be guilty of copyright infringement. If you locate this anywhere, please contact [email protected] so we can take action immediately.

TONEAudio MAGAZINE. All Rights Reserved.

Original Resource is TONEAudio MAGAZINE » TONEAudio MAGAZINE

Esoteric N-01 Network Player

Listening to a slew of Peter Gabriel favorites, via NAS drive and ROON, I ponder in earnest the thought of life without a turntable.

Which trend to follow? The declutter lady, telling us to pare down to a minimal compliment of things that bring us joy, or the vinyl enthusiasts, that want us to condemn digital and buy as many overpriced LPs as possible? Even though I’m a life-long vinyl enthusiast, after living with the N-01 for some time now, this minimalist solution certainly is enticing, especially now with Qobuz and Tidal at my disposal.

Esoteric’s N-01 weighs in at $21k; a world class DAC and streamer (or network player, as they call it)

For those not familiar, Esoteric is the premium division of TEAC, the same company that brought a full line of incredible tape decks to the world in the 70s and early 80s. All Esoteric components are hand built and hand tested to the highest specification.

Ultimate versatility

With optical, USB, AES/EBU and RCA digital inputs along with the Ethernet connection, chances are a great many of you will be using this as a DAC via an analog preamplifier, and the N-01s output level up all the way. Thus negating any issues with a very slight loss of resolution at the lowest levels. There is also a USB slot on the front panel [町田1] to accommodate a USB stick. This has to be the most inconvenient way of transmitting music ever – so I did not bother with this at all, but if this is how you do it, it will be a welcome addition. There is a second USB slot on the rear panel as well, adding to the N-O1s flexibility.
Of course, you can use the front panel USB port for an external hard drive, which could be handy for out of town guests to bring their music. As someone who is as territorial as a Chow-chow when it comes to letting others add random devices to their hifi system, if you’re coming to my house and you can’t find something on Tidal, Qobuz, or a NAS with 12,000 CDs on it, we probably shouldn’t be listening to music together anyway. But you can, with the N-01.

Besides, plugging in an external drive to the front panel takes away from the aesthetic of the N-01. Like all Esoteric products, the N-01 is beautiful to behold. Their casework is some of the best in the business, and I appreciate that their products all have a similar look and feel. This is a massive box, weighing in at just under 60 pounds, and it comes in a box that’s about half the size of a dishwasher – you’ll have to get through four sets of cartons to get to your N-01.

There’s as much beauty lurking inside the casework of the N-01 as there is on the outside. The power supply is separated from the signal carrying electronics by a thick, Nickel plated, pure steel plate. The bottom half of the N-01 reveals four massive toroid power transformers and two banks of capacitors that you might expect to see in a power amplifier. That a DAC has such a massive power supply speaks volumes. And the attention to detail everywhere else is equally fanatical.

A quick look at the spec sheet reveals that the N-01 plays everything. Everything from the lowest resolution MP3 to the highest resolution DSD file and MQA, so it’s safe to say this component is future proof. I’ve never been a DSD fan, so this is the only aspect of the N-01s performance I can’t comment on directly, with enough depth to have meaning. But if you have a NAS full of DSD files, I’m sure it will be up to task. All of the DSD files I’ve heard in the Esoteric rooms at shows have been fantastic.

All of my listening was done within the ROON environment, with the N-01 as an endpoint. This works incredibly well on a number of levels, but primarily because it is so much better at integrating multiple storage and streaming locations. It also eliminates the more cumbersome user interface available with Tidal or Qobuz.

Initial listening

Functionality aside, the N-01’s spot-on neutral tonal balance. Some components can impart a sonic signature that is either overly etched and hyper-detailed, or slightly warm, this leaves the end user making other compromises in the audio chain to “tune out the difference.” Starting with a neutral source lets you fine tune elsewhere in your system, assuring much more longevity (i.e. the need to upgrade later) for said component. A good thing when spending $20,000.

Those needing an upgrade, can add the G-02X clock ($6,500) or the G-01X Rubidium clock. Staffer Tom Caselli uses the latter in his digital front end and claims a massive increase in sound quality, as it should for the price. Past experience with adding a clock in the context of our players has always been the ability to achieve another level of refinement – dare we say a more analog like presentation. This gives you an excellent upgrade path with your N-01, should you need even more performance.

The N-01s grain free sound immediately puts you at ease, with a palpability quickly putting arguments to rest. Tracking through a bit of Ella Fitzgerald and Diana Ross, as well as the excellent Jackson Five: The Stripped Mixes, there is a delicacy afoot here that is rarely associated with digital playback.

Acoustic instruments come through with an excellent balance of tonal accuracy and saturation. The N-01 never sounds “digital.” Pianos, violins, and other stringed instruments breathe with the correct amount of attack and decay to further paint the illusion of real instruments in a real space – provided the rest of your system is up to task. Finally, the N-01 paints a large, but not overblown sonic landscape in your listening room that feels right from a sense of scale. Where some components can only offer up a huge, three-dimensional sonic picture, the N-01 expands and contracts as the music demands – a true sign of engineering prowess and maturity.

Solo or ensemble use

Using the N-01 with the Pass XS Pre, the Nagra Classic, and the conrad-johnson GAT 2 preamplifiers all proves excellent, with the neutrality of the N-01 merely allowing the sonic signature of these top shelf preamplifiers shine through. A similar result was achieved using the N-01 by itself with the Pass XA30.8, the McIntosh MC275 and the Luxman M-900u power amplifiers. As someone who prefers a slightly warm tonal balance, I particularly enjoyed the combination of the N-01, the MC275 and my Quad 2812 speakers. Thoughts of living without a turntable again filled my head.

Embellishment aside, further critical listening reveals the N-01s ability to separate fine musical details within densely packed recordings, delivering fantastic musical pace, no matter what the selection. Even though said CSN tracks possessed slightly more tonal saturation, the air around the four musicians’ voices was greater, and the distinction of their vocal character easier to discern.

More choices

With so many recent arguments about MQA, I submit that not all MQA decoders are created equal. That being said, the N-01 does a fantastic job at unfolding MQA files. Every A-B comparison on Tidal between the standard 16/44 and MQA version had the MQA rendition revealing more musical information in every sense. Comparing some MQA tracks on Tidal to 24/96 proved to be a mixed bag – for now, we’re going to relegate that to differences in mastering and internet arguments. Suffice to say again, MQA performance through the Esoteric is some of the best I’ve experienced.

Esoteric offers their own Sound Stream app for those not wishing to use ROON, but now that this device is fully ROON compliant, it’s somewhat of a moot point. I loved just plugging it into the network and getting down to business with my music collection.

Esoteric combines multiple 32-bit DAC chips and a 35-bit D/A processing algorithm to process the digital signal with full 35-bit resolution. With old school 16-bit chips falling back in fashion, I prefer the logic behind processing with extended bit depth and that Esoteric implements it to perfection here. There are multiple upsampling and filter settings, but as with my experience with dCS and a few other manufacturers, I saved myself hours of agonizing and second guessing, using it at the factory settings.

Maybe the factory guys are on to something, because that always seems like the best balance of overall musical priorities. Other settings may provide a slightly warmer tonal balance or something else, but it always ends up being the thing that you keep changing, relentlessly. I found bliss with the factory settings.

What’s in a name?

Because the Esoteric N-01 has such a high-quality DAC built in, with the ability to add a clock later, should you wish, it seems a bit of a misnomer to label it a mere “network player.” I like to think of it as a destination level DAC that just happens to stream files. It certainly seems like a much better value proposition from this angle.

The Esoteric N-01

MSRP: $21,000

www.esoteric-usa.com

Peripherals

Preamplifers Nagra Classic, Pass XS Pre

Power amplifiers Pass XA200.8 monos, Nagra Classic, Audio Research REF160M

Cable Cardas Clear

Speakers Focal Sopra no.3 w/REL 212 subwoofers

Original article: Esoteric N-01 Network Player

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Original Resource is TONEAudio MAGAZINE » TONEAudio MAGAZINE

Gold Note A3 EVO Speakers

Many of us think of “that other company” when we think Italian loudspeakers, but the team at Gold Note is a serious contender, making their way into North America, after achieving major success in the rest of the world.

We’ve been very excited with the performance of the Gold Note electronics we’ve used so far, and our first experience with the small A3 EVO you see here is equally good.

This 5-inch, two-way, compact monitor delivers an incredible wallop for its small size. This gorgeous little pair of speakers is like a tuned Fiat Abarth. More sound and fun than you’d ever think could come from that small shape. Starting the listening with some jazz fusion from FORQ, via the VAC Sigma 170i amplifier, sets me back in the chair, Maxell man style.

Design choices

Everyone has their preferences, but I’ve always loved silk/soft dome tweeters. While not the champions of getting the last few molecules of musical detail like a diamond or beryllium tweeter, there’s an organic nature to the soft dome presentation that keeps me in the chair for hours on end. The SEAS sourced tweeter in the A3 EVO is a perfect balance of high resolving power and tonal smoothness, without being slow.

Cymbals fade off into the background with a natural ease, and acoustic instruments have a natural palpability that always engages. Transitioning from FORQ to Michael Hedges’ Aerial Boundaries, his blisteringly fast guitar work is truthfully rendered, and this record is always somewhat of a challenge. Yet, the EVOs succeed brilliantly.

The cabinets are beautiful, as you’d expect – these are Italian speakers, of course! Available in black or walnut, they’ve kept choices down, to keep the price in line. Every corner, every joint is exquisitely finished, to the same standard as their flagship speakers. The pride in manufacture shows the minute you get them out of the box.

Around back, a single pair of high quality binding posts get the job done, and the rear firing port is an aluminum tube. Precision and care in assembly is everywhere you look. These are speakers you will be very proud to own and show off in your listening environment. As it should be.

Setup and such

The A3 EVO are tiny, but not as light as their small size suggests, at a little over 20 pounds each, they will give you pause when you lift them out of the box. Gold Note packs them with care, and even installs a plastic tweeter cover (magnetically attached) to prevent damage. Make sure to remove the grilles and remove these covers, or you may be horribly disappointed at the lack of treble response when you first fire them up!

Your listening chair position will determine the tweeter height, or you can just use the Gold Note stands and adjust from there. We tried 20, 24, and 28 inch stands, settling on 28-inch for the best balance in our listening room. Horizontal dispersion is good, so if you have to place the speakers at less than the perfect height in your listening room, a bit more toe in will easily compensate.

Finally, whether you’d like a more immersive listening position or a larger stereo image, with a bit more bass response will determine whether you’d like corner placement or nearfield. Again, both provide excellent results, yet with the speakers in more of a corner placement, they produce an incredibly large soundfield in the room. For many of you wanting big speaker sound in relatively small quarters, the A3 EVOs can be your ticket to ride.

As a two-way speaker system, with a rated sensitivity of 87db/1-watt, the A3 EVOs benefit from a little bit of power to achieve higher sound pressure levels. Again, this depends on your desired result. If you’re listening to music with smaller dynamic swings and don’t require high volume, your favorite 30-watt per channel amplifier will get the job done, and if nothing else, provide a great place to start. With these speakers it’s definitely about quality instead of quantity.

Those wanting to rock the house more, will want to move up to an amplifier in the 50-100 watt range to get the little A3 EVOs to move serious air. But remember a 5-inch woofer can only do so much. Just as my little Fiat Abarth is a sheer blast to drive between 25 and 85mph, so are the A3 EVOs. Don’t push them too hard and the level of enjoyment is off the chart good. A bigger amplifier will give them a bit more ease and headroom, and certainly will make an excellent next step, should you have to invest your budget in speakers to start.

Further listening

The A3 EVOs offer up great sound right out of the box, but after a few days of constant play, the woofers go a bit deeper and the upper bass response tightens up slightly, along with the tweeter having an even greater sense of ease and extension. These are very user friendly speakers, so don’t fret over ultimate placement until you’ve got about 50-100 hours on the clock.

Listening to Carole King’s Live in Hyde Park clearly illustrates how natural these little speakers sound, as the audience swells at the beginning of the track, giving my modest sized living room an incredible sense of ambience, almost as if there were surround speakers hidden somewhere in the room. Damn good for a small pair of two ways!

An equally impressive result is had with Springsteen’s new album, Western Stars. There’s a delicacy here that the A3 EVOs are able to communicate, thanks to their exquisite tonal balance. And with program material like this, the tiny A3 EVOs feel much larger. As with all great small monitors, they disappear into the room without a trace, making for some great lights out listening sessions.

What’s not to love?

If you’re looking for a high-performance pair of compact monitors, that are beautifully executed, and a bit off the obvious path, Gold Note’s A3 EVOs get our recommendation. At just over $4,000/pair they offer everything you need to build a highly satisfying system.

The Gold Note A3 EVO Speakers

$4,099/pair – Black
$4,499/pair – Gloss Walnut (as reviewed)

www.goldnote.it Factory
www.rutherfordaudio.com NA distributor

Peripherals

Analog Source AVID Ingenium Plug N Play

Digital Source Gold Note CD-1000

Amplifier VAC Sigma 170i

Cable Tellurium Q Black Diamond

Original article: Gold Note A3 EVO Speakers

Please note that all TONE Audio copy and photography is © 2005–2018 TONE Magazine LLC. This RSS feed is provided for personal, non-commercial use only.

If you are not reading this content in your news aggregator, RSS reader, or direct, then the site you are looking at may be guilty of copyright infringement. If you locate this anywhere, please contact [email protected] so we can take action immediately.

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Original Resource is TONEAudio MAGAZINE » TONEAudio MAGAZINE

Totem Tribe Towers

Listening to the deep bass line in Lyle Lovett’s “She’s Already Made up her Mind,” I’m still amazed after nearly 20 years of reviewing speakers, at how Totem’s Vince Bruzzese gets so much bass out of such small cabinets.

These svelte speakers are instantly riveting. The tiny frontal area of the enclosures houses a 1.3-inch soft dome tweeter coupled to a pair of 4-inch Torrent drivers, which are technological marvels. Totem has the only 4-inch woofer that is capable of a 26Hz free air resonance, and the dome tweeter goes effortlessly up to 30kHz. You can read more about the tech involved here, but it’s safe to say that Totem has succeeded brilliantly here in terms of clarity and phase accuracy.

Moving on to some more bass-heavy tracks, these speakers move serious air, regardless of their size. Five different amplification choices from Boulder, Nagra, Pass, PrimaLuna and VAC all deliver the goods: the highly resolving nature of the Tribe Towers quickly shows off the nuances between them all. With a 4-ohm impedance and an 89db/1-watt sensitivity, they work well with tubes or solid-state amplification. As expected, they offer slightly more slam with a big solid-state amplifier, but your personal preference will dictate what you pair your Totem Tribes with. We’ve often seen Totem use a Boulder amp in their demos, but rest assured that you’ll still get that deep bass you heard when tracking through Yello (just like you heard in the demo) with a good tube amp too.

Switching the program to Laurie Anderson’s Live at Town Hall NYC reinforces the exceptional spatial abilities of these speakers – from the ethereal openness of Anderson’s voice to the correctness of the applause in the audience. Staying in the Laurie Anderson groove a little longer, “Excellent Birds” (from Mister Heartbreak) combines both characteristics in one track. It’s incredible how far cone speaker design has come in 20 years or so – you no longer need a panel speaker to achieve this kind of three-dimensional presentation, only to have to compromise dynamics and impact.

Fine details make the difference

The new Totem Tribe Tower tips the price scale at $5,300/pair in Satin white or black and $5,800/pair in gloss ICE (white) or DUSK (black).Perhaps it’s Bruzzese’s love of automobiles, but these speakers are finished as well as any luxury car (if not better than some) and sport a gloss and lack of orange peel that you might expect from a $100,000 pair of Wilson or Focal speakers. Much like a cool car, they look great just standing still.

Our review samples arrive in the gloss black and reveal another great surprise: these beautiful speakers only weigh about 30 pounds each – a significant bonus. Nothing like high-performance speakers that won’t break the bank or your back. After a year of moving 300 and 400-pound speakers, I can’t tell you how welcome this is.

While the Tribe Towers deliver excellent sonics and top value for their price, this is a very important category. With so many great speakers starting at $10k/pair, making the Tribe Towers the anchor of your system allows you to build an excellent system for under $10k, and something pretty stunning for $20k – $30k (depending on whether you require equally good analog and digital performance, or just one excellent source) The Tribe Towers offer enough sonic performance that you can grow pretty far with them, as your enthusiasm and budget allow.

Every aspect of these speakers offers a level of quality that isn’t seen at this price. It starts with the finish, but it’s more than just a pretty paint job. The absolute precision of the finish work on the cabinet edges, dual WBT binding posts, and an innovative approach to the speaker’s feet is impressing. Totem eschews the spikes in favor of round, machined, ball-like feet that offer the same sonic coupling benefit of spikes, yet won’t damage your floor.

The only possible drawback to these feet is the small footprint, and light weight of the enclosures may be a bit wobbly on a relatively loose weave carpet or area rug. Those with small children and modest to large dogs will have to be a bit cautious, as I fear these speakers might be easier than some to topple. The price we pay for beauty.

Back to the sound

One of the secrets to the Tribe Towers success is the quality of the enclosure, crossover, and drivers, along with the meticulous attention to detail in the construction process. Totem hand-builds their crossover boards with a point to point wiring scheme, avoiding the pitfalls of a printed circuit board. The drivers are all hand-matched for uniformity, and the crossover is a gentle, first-order design, only connected to the tweeter.

Totem claims that this helps to offer a cleaner phase response, and it doesn’t take more than a few minutes to confirm this. Combining this with the minimal front baffle makes for a speaker that quickly disappears in the room, and creates a broad, immersive soundfield in all three dimensions. No crossover whatsoever in the woofer path adds to the fine detail these speakers are able to resolve.

Whether your go-to demo tracks favor vocals or acoustic instruments, the Tribe Towers deliver such a detailed presentation, it almost feels like a pair of premium headphones. We were consistently surprised, having several “wow I didn’t hear that” moments with these speakers. Again, this is the kind of thing you expect for 10, 20, or 30 thousand dollars a pair, but is rarely offered at this price.

The Tribe Towers perform equally well in our 12 x 18-foot room (on the short wall) and our larger 16 x 26-foot room (on the long wall), with just a tiny bit of toe-in. In both places, we followed their suggestion, starting with the speakers about 4 feet from the rear wall, which is an excellent starting point. In the smaller room, the speakers ended up about 6 feet apart and then in the larger room about 10 feet apart. While the smaller room offers a slightly more intimate sonic presentation, these speakers are capable of filling a bigger room with ease.

Should you really like to rock out and have a bigger room, you may want to consider an amplifier in the 75-200 watt per channel range. Physics is physics. In a smaller room, 30-40 watts of high-quality amplification will suffice for all but those needing excessive volume.

Just like the other Totem speakers we’ve either reviewed or listened to at various shows, they possess incredible dynamic range. The Tribe Towers can play loud, really loud when you want to listen to heavy rock, but they also sound good at low level (around 75db average). Not all speakers can accomplish this, but the Tribe Towers are as much a joy to listen to quietly.

Their ability to process large dynamic swings also means the Tribe Towers make a great pair of front speakers in a modest-sized theater system. While we didn’t have a full Totem system to do this, we did use them briefly in our bedroom system, powered by the latest Anthem multichannel receiver with excellent results. And, Totem makes a full line of surround and architectural speakers along with their own subwoofers, so you can keep a uniform sonic signature throughout.

Parting random thoughts

After living with these speakers for some time and using them in a variety of different listening situations, the smile only gets bigger. These are approachable speakers that are indeed without compromise. Their design is very user-friendly – all that experienced them enjoyed them as much as we did, with nary a “not in my living room” comment to be had.

Knowing that Totem has been around for decades, and has a well-established dealer network around the world means that your Totem Tribes will always be supported. This is a big part of what makes them a trustworthy investment. Their commitment to a phase coherent design makes them so engaging to listen to.

Bottom line: zero complaints.

www.totemacoustic.com

Original article: Totem Tribe Towers

Please note that all TONE Audio copy and photography is © 2005–2018 TONE Magazine LLC. This RSS feed is provided for personal, non-commercial use only.

If you are not reading this content in your news aggregator, RSS reader, or direct, then the site you are looking at may be guilty of copyright infringement. If you locate this anywhere, please contact [email protected] so we can take action immediately.

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Original Resource is TONEAudio MAGAZINE » TONEAudio MAGAZINE

The AudioSolutions Figaro M Speakers

A relative newcomer on the HiFi scene, AudioSolutions comes out of the gate producing speakers that are top performers, offering tremendous value.

To be straight up with you, I prefer speakers more in the GamuT, Sonus faber, and Gold Note part of the spectrum. Slightly on the warm side, but still dynamic and resolving. A bit of extra tonal saturation goes a long way with me. So, that’s my bias. If you are looking for a speaker with these sonic characteristics, I can’t suggest the AudioSolutions speakers highly enough. They offer all the qualities I love in a speaker at incredibly reasonable prices. The Figaro M floorstanders you see here are $7,500/pair. Close your eyes, and you might just think you’re in Italy.

After about 50 hours of background duty, the first track up is Drab Majesty’s “Foyer.” Hardly the last word in audiophile fidelity, this track offers layers of atmospheric sounds and synthesizers, that in a lesser system, just sound flat and uninvolving. A great alternative track in the same vein is Thomas Dolby’s “I Scare Myself.” I’m sure you have your faves.

Team players

The Figaros present an easy load to drive, working equally well with tubes, solid-state or class D amplifiers, keeping their signature sound, but revealing the character of whatever they are plugged into. Mating them with the Boulder, Nagra, and Vitus amplifiers we had on hand for review, the Figaros become more dynamic overall, producing more LF extension and sock. Pass and Luxman provide a bit more warmth with tube amps from Line Magnetic and PrimaLuna even more romantic.

 With a rated sensitivity of 91.5db/1-watt, precious few amplifiers will be off-limits, but a few vintage amps in the queue were a bit too much of a good thing for this writer. As always, experiment, experiment, experiment to find your little slice of nirvana. The Figaros even turn in an enchanting performance with my PSAudio Sprout II. This was used in the garage after unpacking to burn them in, with a lot of metal tracks being played at a neighbor annoying level. After a weekend’s worth of parts cleaning, they were ready to move into the studio.

The front panel snaps off so you can use them with flush grilles or without – I always love to look at the drivers, so sans grille cloth I say. The flat, speckly finish covering most of the cabinet tends to diffuse the light bouncing off of the Figaros, so they are not as imposing as a pair of gloss black speakers. They are not as fussy to live with as a result.

The music lover trying to get as much sound as they possibly can for their dollar will appreciate this approach. Beautifully finished cabinets are wonderful, but they do add to the MRSP. AudioSolutions keeps the cost in check going this route. This finish is certainly easy to keep clean and fingerprint free. Half of the side panels are available in any one of 17 different colors, and you can read about that here.

Free of fatigue

Even after a long string of punk tunes, via the Pass XA200.8s (at a higher volume than is reasonable and prudent) the Figaros prove they can play loud with total control. Listening to Amyl and the Sniffers “GFY,” lead singer Amy Taylor channels Wendy O. Williams, along with a little bit of Lemmy and Yoko Ono, the Figaros are cranked to the point of pain. That’s my pain though, the speakers show no break up even at ear-splitting levels – they play loud with ease.

Going back to Yello’s “Vicious Games,” music bounces all over the place. The Figaros create a soundfield that is wide, deep, and tall. These speakers do an incredibly good job at reproducing height information along with the standard width and depth. Same thing, tracking through U2′s debut, Boy. All the tinkly bits float in space, and the Edge’s layer upon layer of processed guitars are all easily decipherable.

As you might expect from what I’ve told you so far, vocal and acoustic music is perfection on the Figaros. ABBA’s rendition of “Dancing Queen” is just as much fun as the Yayhoos remake. Yoko Ono’s vocals on “Watching the Rain” are everywhere in the sonic picture. If your musical taste is more traditional, I had an equally engaging time with Ella Fitzgerald.

Big bottom

AudioSolutions claims bass down to 32hz, and while we don’t measure speakers, a quick run of test tones confirms there is plenty of action at 30hz. The trick to getting the optimum setup with the Figaros (at least in my three rooms) was to get them a bit further out in the room than you might other speakers. It’s kind of like when you order shoes and a particular manufacturer runs half a size large. Get it wrong, and they sound uncharacteristically boomy – it’s not the speakers’ fault. Once you have achieved the perfect low and mid-bass balance, play some of your favorite bass-heavy tracks, and you’ll see what I mean. The Figaros deliver solid and substantial low-frequency output.

Running through a long playlist of hip-hop, EDM, and even some classic rock tracks with a lot of LF information, all but the most bass addicted end users will probably not need a subwoofer. The Figaros achieve true full range performance. Should your musical taste be strictly EDM and electronica, move the speakers slightly further towards the room corners to pick up a little bit of room/midbass gain and get the party started!

Further tech bits

The black finish is definitely slimming. The Figaros weigh 90 pounds each, so it’s up to you if you’ll need help placing them. They are well packed and easy to unpack without drama. Their footprint is small (44.1 inches tall x 10.7 inches wide and 18.5 inches deep) so they won’t overpower your listening environment.

A pair of 7.2-inch woofers, a 5-inch midrange that is run “further than the usual region” and a silk dome tweeter with a mini waveguide make for a full three-way system. Again, it’s important to note what a great job AudioSolutions have done on the crossover network and driver choices. These speakers have a coherence that you’d expect to pay 2-3 times this much for.

Even though the speckled finish is utilitarian in nature, the execution of the cabinetry is flawless, thanks to AudioSolutions “self-locking” cabinet. This is a level of detail I would expect on a $50k pair of Sonus faber speakers, but am thrilled to see in a $7,500 pair.

Adding up to excellence

We could go on and on, with this track and that, but the bottom line with the Figaros is the level of music they reveal. While $7,500/pair can bring you a considerable glimpse into the upper strata of high-end speakers, Audio Solutions delivers a masterpiece. In the context of a $10k – $100k system, they’d probably be the last thing I’d upgrade if I did at all. The only key is that if you like this “sound” as much as I do. If you’re more of a mega detail person, these may not be the droids you want. I can’t think of a speaker in the last decade that’s delivered more sonic enjoyment than the Figaro Ms do for $7,500 a pair. Hence, I am happy to give them one of our Exceptional value awards for 2019. This is a lovely pair of speakers without fault, that could easily be the last pair of speakers you buy.

AudioSolutions Figaro M

$7,500/pair

www.highendbyoz.com

Peripherals

Digital Source dCS Vivaldi One

Analog Source Luxman PD-717 w/Kiseki Purple Heart

Phono stage Luxman EQ-500

Preamplifier Pass Labs XS PRE

Amplifier Pass Labs XA200.8

Cables Tellurium Q Reference

Original article: The AudioSolutions Figaro M Speakers

Please note that all TONE Audio copy and photography is © 2005–2018 TONE Magazine LLC. This RSS feed is provided for personal, non-commercial use only.

If you are not reading this content in your news aggregator, RSS reader, or direct, then the site you are looking at may be guilty of copyright infringement. If you locate this anywhere, please contact [email protected] so we can take action immediately.

TONEAudio MAGAZINE. All Rights Reserved.

Original Resource is TONEAudio MAGAZINE » TONEAudio MAGAZINE