Australian loudspeaker manufacturer Dellichord tell us they are running a giveaway campaign over the next few weeks to be drawn at the October 2023 Melbourne HiFi and AV Show. The promotion named “Listen and Win” offers a free pair of Dellichord FR6 speakers to the lucky person drawn from the barrel at 3pm the Sunday of the Show (22nd October). To enter the draw all that is required is to go into a Dellichord dealer (dealers listed below), receive an audition of the FR6 or M6 Dellichord speakers and take a selfie with the loudspeakers auditioned in the shot. Post it to your Instagram or Facebook page and tag in @dellichord or #stereotechmfg and the dealer you visited. Dellichord will get in touch to confirm your entry into the draw.

Dellichord is an Australian loudspeaker manufacturing company based in Brisbane, employing the services of sister company Stereotech for cabinet making and construction and assembly of the crossover PCBs and the final assembly.

The FR6 model employs an extra internally mounted identical bass unit for added bass extension but at the same time a smaller enclosure. Over the years most manufacturers who have used the idea have described it as ‘compounded’ or ‘isobaric’ bass loading. Dellichord have taken the idea a step further by employing a passive radiator rather than a vent or port. The advantage they say being “a further decrease in enclosure volume and zero port noise”.

Dellichord tell us that they go to some trouble to source components and raw materials actually made in Australia in an attempt to make their products as genuinely ‘Made in Australia’ as possible. “The terminals, foam, MDF, real wood veneer, wire, grille cloth, glues, paint, packaging and of course the design and actual manufacture are all Australian.”

Full details on the competition to win a free pair of these first class loudspeakers is here

A review of these loudspeakers can be found here

The Dellichord Facebook page here

The FR6 can be heard in the following quality HiFi dealerships around Australia –

QLD –

The Audio Tailor – Brisbane – Click for details

The HiFi Shop – Sunshine Coast – Click for details

Toma Audio – Gold Coast – Click for details

NSW –

Audio Genesis – Sydney – Click for details

CHT Solutions – Sydney – Click for details

Toma Audio – Northern NSW – Click for details

VIC –

Carlton Audio Visual – Melbourne – Click for details

WA –

Frank Prowse HiFi – Perth – Click for details

The post COMPETITION CLOSED FOR 2023 Winner Don Sargent from Melbourne. Win a pair of $5000 Dellichord loudspeakers appeared first on HiFi and Stereo.

Not your average speaker – in any way.

Just as you thought there was nothing really new under the sun (that shines on the HiFi loudspeaker world), Rega launches the Kyte. Does the world need another quality but affordable bookshelf sized loudspeaker I wonder? The answer from Roy Gandy at Rega is an enthusiastic, yes! His early exploits in audio manufacturing were in loudspeaker manufacturing and sales not turntables as you might expect. Rega has nearly always offered a range of loudspeakers, although this new model is unlike anything that has gone before. For that matter, they are unlike anything and other HiFi loudspeaker manufacturer is offering either. Let me explain.

A new take on how a great loudspeaker at sensible cost might be –

The ‘unusual’ starts with the plastic enclosure. Rega would probably prefer I call it “Phenolic Resin”, but it’s sort of the same thing and for me ‘PR’ is historically connected to Bakelite. If I suggested this new speaker from Rega was crafted from Bakelite, Mr Gandy could well pay me a visit and steal my keyboard. The fact is lots of parts in the Kyte are made from a plastic of one variety or another with a key exception being the internal “Ceramic Brace”. This arrangement no doubt aids in getting this Phenolic Resin enclosure to sound quite inert. Indeed, the result when rapped with ones knuckles is not dissimilar to a traditional well designed MDF box. This results in a dull sound that decays rapidly. Ceramic plates and a plastic enclosure are not the only shifts towards ‘unusual’ here. The shape of the enclosure itself is somewhat different in that it is a little ‘icecream-container-like’ in shape and one guesses at the factory the enclosures are ‘stacked’ ready for assembly. No grille is supplied to hide the loudspeakers modesty and the input terminals are vertically aligned. The Kytes are made in Rega’s own factory in the UK. Not only are they assembled there but the bass unit is made by them in their Southend-on-Sea facility. These are things we don’t normally expect at a $1099 retail price point. In fact I’m not sure there are any UK built loudspeakers available in Australia for under $2000 a pair. The bass unit looks like a quality piece too. I assume savings made from avoiding real wood veneers and MDF, have been fed back in to areas of design that matter more in regard to sound. Perhaps also avoiding timber has helped with keeping the retail price down. This design ethic all makes sense to me from a performance per dollar point of view.

But how do they sound, these ‘function over form’ loudspeakers?

Fresh from their carton I was reminded loudspeakers don’t always sound at their best when brand spanking new. I set them aside and played them for a few hours at a decent level. Enough that the drivers would get a bit of a work out and hopefully provide a more accurate picture of their ultimate performance. Sure enough, my second attempt to listen to them provided a very enjoyable, well balanced and honest sound. To my ear, there was an immediately familiar Rega family sound in the form of a slightly dry top end and a taut but quite full bottom. Much listening on and off over the following days allowed me to realise just how honest a sound these little speakers offer. A real lack of ‘HiFi’ (you know all shiny top end and faux detail) and much more “music”.

Initially I missed the apparent extra detail available from other loudspeakers I had on hand. An hour later the almost complete lack of listener fatigue from the Regas convinced me of their ‘rightness’.

Professional HiFi repairs performed by a qualified technician available now in Brisbane

They don’t start bugging you with any unnecessary ‘tizz’ when using them as background music speakers. Maybe when listening to them with more care, sitting right in front of them there is just a smidge less excitement in the mid and top than my preference. But the bass! Its not so much that there is more than any other loudspeaker of a similar size, but what is there is extended and super tuneful. It lacks any woodiness or other aspect of performance in that region that might be caused by enclosure resonance. Rega have definitely struck gold with the performance of their unusual enclosure design. So balanced is the overall sound quality I struggle to point to or mention any particular example of either their excellence or lack there of. Perhaps to sum up I will employ the much over used term – musical. But they are! The timing in the bottom, the reality in the mid, and the lack of bling added to the sound makes for a very enjoyable fatigue-free listen. They are very competitive at this price level. They will embarrass much more expensive loudspeaker with some of their skills.

What they won’t embarrass others with unfortunately is style/ finish…

Sure they give a lot of performance at the price but is this at the cost of a classy finish? They are somewhat industrial looking and for me just a smidge plasticky. Not in a cheap and nasty, poorly built kind of way. It’s more that they just aren’t speakers in the tradition of being made from MDF and cloaked in some thin veneer of real wood. The lack of a grille, the almost sharp edge of the front baffle extremity and the irregular shape messes with my head a bit. There is also the fact that there has to be a little, slightly flimsy, rear ‘leg’ to allow them to sit vertically. These points may slow interest from those who place as much import on the furniture aspects of HiFi equipment as the performance.

But after a week –

However after a week I was swinging quite hard for the really enjoyable easy to listen to sounds of the Kytes. I was now far less hung up on their less than typical appearance. I still was not in love with the look but I was starting to fall heavily for the sound. My opinion of the appearance is sort of irrelevant, its just my taste. Go to your nearest Rega dealer and take a look for yourself. While there, enjoy a listen to them. If your current loudspeakers are a bit obvious in the upper registers and a bit hard to listen to after an hour or so now is the time to audition the new Kytes. Highly recommended!

• For – An obvious ‘function over form’ design which does indeed deliver more performance and less ‘style’.
• For – Clean, balanced sounding loudspeaker with very good bass performance.
• For – Non fatiguing to listen to long term.
• For – Rega ‘Made in England’ build quality and the longevity likely to come with that.
• For – Maximum points to Rega for trying something new in the speaker design world.
• Against – Appearance may not be to everyone’s taste or to their priorities when buying equipment.
• Against – Some bass reflex port noise/chuffing subtly apparent with some bass heavy music.
• Against – Not having a flat bottom surface may make siting on some stands difficult.
• Price – $1099
• Dimensions – 325mm High x 188mm Wide x 232mm Deep (with rear foot fitted)
• Warranty – Lifetime
• Imported by – Synergy Audio, Melbourne, Australia
• Tested with Naim Star

And to make the Kytes even sweeter…

Coopers Sparkling Ale. In the craziness that is the current enormous interest in locally made beer I feel poor old Coopers is possibly being forgotten. Revisiting the ‘Sparkling’ for this tasting reminds me of all the reasons why it shouldn’t be. Firstly these guys really do know how to make beer. They have been at it for 159 years making them about 100 times more experienced than your average hipster start up craft brewer. This experience shines through too in the absolute consistency of their recipes. When I knocked the top of this stubby and took a taste my first thought was wow, this is exactly as I remember it. Their yeast is the driving force behind the flavour and they work hard to look after it. Then there is the simple refreshing nature of the drop, backed up with bit of alcohol driven warmth. Its clean tasting and oh so easy to just knock back the lot in seconds. I resist though and think hard on what that ‘Coopers’ taste really is. I really still can’t pin it down after 20 odd years of enjoying this and the ‘Pale’. Is it a bit of caramel malt coupled with the estery flavours their yeast throws off, or is there more to it? I highly recommend you try it for yourself (for the few that haven’t that is). If you have tried it years ago and weren’t sure and have been drinking crafties lately then have another crack at the ‘sparkling’. The flavour is certainly going to be confronting to those used to drinking beer substitute such as Pure Blonde and the like, but might be just what you want as a change if you have mostly been drinking super heavy IPAs lately.

Some other things I also noticed about this Coopers drop is firstly the head lasts and lasts. It’s still there till the last drop and fully laces the glass. I tend to enjoy Coopers more without tipping in or mixing up the yeast sediment. I realise that the cool kids behind the bar want to ‘roll’ them before serving but I reckon that’s a myth started by the marketing department years ago in an attempt to turn bottle conditioning and the accompanying sediment into a positive. In reality not consuming settled out yeast is surely the go? You get a full 375ml of beer from Coopers so if you loose 20ml by holding back the sediment is it any great loss?

Anyway pour a beer now and enjoy some music, no matter your stereo.

The post Rega Kyte – Nothing like everything else. appeared first on HiFi and Stereo.

The History –

The original Cambridge Audio DacMagic appeared some 25 years ago. It was then an affordable way to improve the sound quality from your digital source component. ‘”What HiFi” magazine summed it up with these words… “Joke price, knockout sound, you get lots of performance for not much money, BNC inputs/outputs only, but if your CDP is suitable, buy this! Sound: 5 stars – facilities: 4 stars – build: 4 stars”. In many ways things haven’t changed much. The Cambridge DAC models that followed over the years have also offered startlingly good audio quality for well under $1000. In this latest incantation, the feature set has grown, the sound quality in theory has improved and the price has not changed much at all. Surely this is all good news?

The New –

The logos on the carton are immediately exciting – “Roon Ready! – Hi Res audio! – MQA!” I realise quite quickly that this new DAC from Cambridge lacks any WiFi connectivity. Hence, for me the Roon attraction fades equally as quickly. I’m not a fan of computers in the HiFi room. I consult the online user manual to better understand how these premium audio features might work. I skimmed over a dozen lightweight pages of info and the only mention of MQA is that a light will be lit when it happens! No mention of ‘Roon’ or ‘Hi Res Audio’. On the basis that I am a reasonably positive person and don’t like to wallow too much on the negatives. I decide to just switch it on and have a listen. I have the big brother of this DAC on hand (CXN) so decide a shoot-out of audio quality is at least as interesting as possibly wasting the next few hours trying to get the MQA light to shine bright.

Minutes Later –

I am listening to the digital out from the CXN through the new DacMagic 200M. How does it compare with internal DAC in the CXN you may wonder. Spec wise they are completely different, employing ESS chips versus the Wolfsons in the CXN. I also imagine that there has had to have been some cost-cutting in the analogue out section (of the 200) although it still offers balanced as well as the more popular RCA unbalanced outputs. Despite these technical differences in the electronics I heard little audible difference and perhaps a not completely surprising similarity in the character of the sound. A well-rounded, quite detailed and enjoyable sound. Well balanced top to bottom with a decent amount of ‘air’ and frankly overall an excellent level of sound quality at the price. If I was to nitpick, maybe it doesn’t quite offer the warmth of the CXN on all material. However, my thoughts on this did indeed vary with what I was listening to. I think DACs may have come along way over the years because there was a time when the differences between chipsets was more obvious.

So far, so good – Bluetooth?

In fact, so far you could say that this new Dac Magic appears to be a bit of bargain considering the CXN is more than twice the money. I thought I would give Bluetooth a twirl based on my guesstimate that this DAC will often be purchased as a solution to get ‘new-school’ sound into ‘old-school’ classic/vintage HiFi systems. For many, Bluetooth will be the doorway into their first steps in the streaming world. I had it connected within seconds and actually the sound quality wasn’t bad at all. Entirely listenable but flicking back to my previous configuration offered greater air, detail, imaging and musical excitement simply not offered via BT. Easily detected when A-B-ing but for an old school system with relatively coloured and non-revealing sound, I doubt the difference will matter much. So Bluetooth is indeed a worthwhile addition to this product. Some aficionados may think otherwise but I could listen to music through the DacMagic 200 via Bluetooth quite happily.

Calling all vintage HiFi addicts –

So where does this quite highly featured DAC fit in the market and who should be listening to it with the thought of purchasing it? As alluded to above, the vintage audio enthusiast who’s interest in dealing with records is starting to wane is perhaps a candidate. With this Magical DAC they can get digital only outputs such as their TV plugged into the old Sansui or Marantz they are currently enjoying. Then with the addition of their smartphone, the world of streaming is available to them via BT. They could also wheel out their computer and exercise the USB input on the Dac. The result would include Roon compatibility, really bringing their retro system fully bang up to date.

Back in the day another reason to buy a DAC was to upgrade the sound quality of ones CD player. This I suspect is a very small part of the DAC market these days for a variety of reasons (the main one being seemingly the lack of interest from anyone in playing CDs). If the potential purchaser has an amp with a digital stage already, this DAC may offer a small improvement in sound quality. Perhaps that is another use, but if the buyers’ interest is streaming then a full blown streamer is more likely the better purchase. Which brings us full circle back to the DacMagic 200 versus Cambridge CXN V2 question.

So DacMagic 200 or CXN V2 ?

For me the answer is clear. I do not want to use USB to enjoy roon or High Definition audio files. I don’t want a laptop in the audio room or the pain that goes with choosing music via a computer (although Roon largely fixes that except for the physical pest that a large laptop is). Nor do I wish to ever deal with getting a Windows box working properly via USB ever again (see my CXN article). So for me a CXN is the answer. It is a marginally better sounding DAC with a suite of extra features and usability that makes the extra cost seem very fair. Roon through the CXN is an absolute pleasure BUT…

The next day I calmly stepped down from my high horse and gave the USB capability a try. Success was immediate and it sounded fantastic. It was still incredibly inconvenient having a laptop attached by such a short leash to the equipment but hey, it worked and it worked extremely well. I made the MQA light come on via Roon (playing a Tidal Master track) and that made me smile. The sound made me smile too although I’m not convinced the MQA was leagues ahead of the redbook resolution original. My experience over the years with high resolution versions of albums varies from ‘sounds worse’ to ‘a revelation’. It, I guess is an album-by-album trial as to whether the Hi Res version is much better and if so, by how much. MQA is under an even darker grey cloud of whether it is good, bad or just different.

So, to sum up –

The new Cambridge DacMagic 200M really is an excellent product. Everything just works. Its a neat little well-crafted box and it sounds enjoyable. If it’s feature set is what you need I cannot imagine you would be anything less than enthralled by your purchase of one. If you are dabbling in the olde-worlde arena of Pioneer receivers (and the like) then this is probably all the ‘digital’ you need. Highly Recommended!

• For – It sounds great.
• For – Simple to use and everything seemed to work (easily).
• For – Seems quite well built.
• For – Rather good vale for money.
• Against – Instruction manual ignore many of the features alluded to on the carton.
• Against – Nothing else at this price!
• Price – $899
• Dimensions – 215mm Wide x 52mm High x 191mm Deep
• Imported by – Synergy Audio, Melbourne, Australia
• Tested with Cambridge Audio CXN V2, Naim Star, Falcon LS3/5A

And the beer of the week !

Helios West Coast Pale Ale

So not an IPA, but also not an APA, but a West Coast Pale Ale. Pretty big, slightly off grape fruit smashes you in the face initially. After your palate recovers there is a decent amount of hop that mostly balances an underlying sweet tang and malty goodness.

I haven’t mentioned nose becuase I didn’t notice one.

This isn’t a patch on the 3 Ravens – 55 I reviewed previously, this is much more a bold, mans beer kind of thing, that in no way offers the complexity and balance of that 3 Ravens limited release. Having said that I enjoyed drinking the Helios. Partly I think because it is an enjoyable hugely flavoured drop, but also in the back of my mind, is their other PA/IPA drops which are excellent. Am I missing the point of what they were trying to create here? I don’t know but if you like big bold notes of fruit, hop and malt goodness this Helios is good place to look.

I checked the packaging date which is kindly stamped on the underneath of the can. For this style it is a little old at 3 months of age. Maybe this accounts for the lack of ‘nose’. Perhaps also accounting for the beer going out of whack a bit (maybe) and the slight staleness of the grapefruit flavours.

Overall a solid 8 out of 10 even in its slightly unbalanced, more mature stage of life. I had a few of these. This review maybe a little wonky….

The post Its called a DAC ‘Magic’ for a reason appeared first on HiFi and Stereo.

Furthering the company’s reputation for developing high-performance source components, AURALiC has launched the ALTAIR G2.1, a comprehensively featured product, developed to account for both digital and analogue sources, delivering transformative, dynamic sound for the demanding high-performance audio enthusiast.

Sporting both line level AND a MM phono analogue inputs!

As a G2.1 Series product, ALTAIR G2.1 has been developed with properties and features that ensure its performance is considered “next-level,” and allow for it to be used as a stand-alone
preamplifier. Analog Volume Control onboard, similar to that on the VEGA G2.1 and based on a resistive ladder design, provides ultra-quiet signal, no matter the input. Class A Orfeo Output Modules allow for an ultra-low-noise and low-distortion signal in the analog domain. Altair G2.1 also houses two separate all-analog inputs, completely bypassing the digital structure and maintaining a pure analog signal from input to out. The first is a line-level analog input, including home theater bypass functionality, and the second is an in-house engineered moving-magnet phono stage for an elegant, direct, and quiet connection to a turntable.

The Altair still offers first class streaming performance and digital domain signal handling.

With so many demands placed operationally upon the ALTAIR G2.1, the choice of processor was simple. ALTAIR G2.1 utilizes the most powerful of the Tesla platforms, which has more-than-ample headroom to handle the challenging number of features and functions found in any AURALiC component. Finally, Dual Femto Second Clocks deliver precisely timed signals, greatly reducing associated jitter. ALTAIR G2.1 can be controlled by Lightning DS (on Apple iOS devices), is also compatible with other OpenHome-based control software, and is Roon-ready as well. ALTAIR G2.1 can deliver a growing number of streaming services such as Qobuz, Tidal, and Spotify Connect, with more to come soon.

Of course it is built to the typical very high AURALiC standard.

ALTAIR G2.1’s physical construction, as with all G2.1 products, includes Unity Chassis II, a stealth-silent aluminum enclosure encapsulating a highly-effective copper sub-enclosure that protects the advanced internal electronics from outside interference, a massive aluminum base, and a six-spring suspension footer system, all resulting in a quiet, sublime, musical performance.

ALTAIR G2.1 AU Retail will be $7,995 and will be available for purchase in May 2021.

Further details are available from the importer – HiFi Collective

This might just be for me. I certainly hope to be reviewing one in the future.

The post New AURALiC streamer also ticks analogue boxes! appeared first on HiFi and Stereo.

To go Moving Coil or not – ‘is’ this the question?

Recently, Japanese cartridge manufacturer Audio Technica, re imagined their long-lived OC9 moving coil cartridge. In fact they ‘imagined up’ 5 replacements for it, all released together! They are all named OC9, quite differently to how things used to be done. Previously, versions 1, 2, and 3 had been released in turn over the last 30 odd years. The classic OC9 now has the following incantations (from least expensive to most expensive) starting from the XEB, then XEN (reviewed here), the XML, XSH and finally the XSL. Sounds confusing? It actually isn’t, as the suffixes are easy to remember acronyms. For example the XEN I have playing in the background now is an “Elliptical Nude” tip equipped version. The top of the range is a “Special Line Contact”, the one below, a “SHibata” etc. They all have an ‘X’ because they are ‘Xtra’ special….sigh. Hey maybe it’s not that simple…

Whatever the naming regime, in my experience they all sound rather good, although quite different. For my money they don’t represent quite the bargain the previous single version OC9III did. If you were looking for a highly detailed, stunningly dynamic and very revealing MC, the previous OC9 did that wonderfully well for only $799. Now if you want that style of presentation you will need to bolt on the OC9XML. ML being an acronym for “MicroLine”. In the new line up of OC9 moving coil cartridges, this model is the least expensive one with a stylus shape that digs deep into the groove. Hence extracting the greatest majority of the data contained within. The XEN under examination here today is a more traditional nude elliptical. A nude elliptical is superior to a conical, but only a couple of notches up. This shape can extract a bit more ‘data’ by way of having a larger contact area within the groove. Being of ‘nude’ construction also helps with tracking as a full diamond tip is lighter than a small tip glued to a steel post (non nude type).

In some ways this article is a shootout between my last cartridge review, the VM530EN, a moving magnet design and this OC9. These two are an equivalent stylus spec. I’m sure an MC versus MM comparison has been done before but these two make it easy. Well sort of easy. The OC9 is easy, with threaded holes in the cartridge body making the delicate and stressful job of attaching and aligning the thing so much easier. The VM530 as per my previous comments in this article, just absolutely sucks to mount. I guess that’s why it is mostly supplied bolted to a universal headshell ready to be bayoneted on in seconds to a suitably equipped tonearm. I feel for the workers at the Audio Technica factory who draw the short straw and have to spend a week in the VM500 section screwing these bloody things onto headshells.

The sound!

Hey, both the OC9XEN and the VM530 sound very very nice. In this case the moving coil is definitely the ‘nicer’ sounding cartridge. It is, as mentioned above, unlike it’s more expensive brothers with fancier shaped tips. It has a sweet warm sound, not offering up particularly high levels of either detail or excitement. It is unlike the almost breathtaking performance of the XML version and those above it. If you are chasing a well-balanced, easy-listening cartridge that washes sound over you rather than setting you back in your chair, the XEN is the one. When I first heard one I immediately felt concern and ordered in the XML. After fitting the XML and sitting down to listen, my faith in the excitement factor offered by the OC9 lineage returned. It caused me to whisper to myself “I haven’t heard that before”. Choose the XML for a seat of the pants blast through the musical mountains, or choose the XEN for relaxing on the beach sipping a cocktail.

Back to the VM530 versus the XEN… I reckon the 530 is actually the more interesting cartridge to listen to. It has an edge, an excitement factor, a punchier sound that appeals most of the time. It requires less from your system as it won’t need an extra external phono stage in most situations. It requires less input from your wallet too, at not much more than half the price of the XEN. This doesn’t imply the OC9XEN is a failure, but if you a looking for a quick exciting fix of vinyl the 530 absolutely does the job. It draws a nice line between information, dynamics and musical enjoyment without overly exposing your records wear and tear. Audio Technica have been making super good value for money MM cartridges for decades and the VM530 is an excellent example of that skill.

The OC9XEN unfortunately, may be an example of trying to spread the OC9 magic a bit too thinly. They have taken a classic, well-known ‘shape’, and model name, and tried to maximise profit from that history with a flavour and price to suit everyone. In doing so, the OC9 has lost some of what it was. It no longer represents a moving coil cartridge with benchmark musical excitement at an entirely sensible price. Now it’s a range of cartridges at differing prices and sound qualities. For me it is actually all a bit confusing. Perhaps classic HiFi industry, marketing department, corporatized BS is at work. You know, the one where the accountant-style CEO flushes away the hard won, carefully engineered reputation of a long lived model with a sweep of a profit-driven hand.

Back to the sound though, I still like what I heard from the XEN. It doesn’t represent particularly good value for money but it won’t hurt your ears. In fact, if your record playback system is a bit harsh sounding this might be the perfect choice.

• For – A generous easy to listen to sound.
• For – Excellent Made-in-Japan build quality
• For – Easy to fit.
• For – Looks cool on the end of your arm, your neighbour might think you paid $1399 for it!
• Against – Not the most record playback excitement per dollar you can buy
• Against – I feel like I’m being played by the Audio Technica marketing department a bit.
• Price – $699 (fitting extra)
• Distributor – TAG
• Tested with – Older Linn LP12, Naim Star, Falcon LS3/5A

And further…

It is assumed by many that moving coil cartridges for turntables (record players) are always a step up from the somewhat universal moving magnet type. In many situations this is probably the case but there are extra steps required to get the best from them. Firstly a built-in MC stage in your amplifier is unlikely to be getting the best from what is generally a more expensive cartridge. Sure it will make a noise but MC cartridges output so little voltage that getting this delicate circuitry away from high current circuits such as an output stage is fairly important. An outboard pre-amp is highly desirable. You don’t necessarily have to purchase a high end one such as the EAR I reviewed recently but something along the lines of the Rega Fono MC is almost mandatory. The Rega has plenty of input matching adjustments so you can get the best from whatever MC cartridge you choose. Most built in phono stages that can handle MC do not have these tweaks. The Rega is just a damn fine sounding, well designed pre-amp for the price too. Typical Rega really in that regard.

The other key difference is that MC cartridges are generally more expensive. They also most often have a fancier stylus shape. More expensive stylus shapes tend to get more information out of the groove which makes for a more interesting listen. As per the above review on the OC9XEN though, if the the stylus shape is just a run-of-the-mill, high quality, nude elliptical you may not end up with better sound than an MM cartridge fitted with the same.

Another point of difference sometimes cited as a reason not to buy an MC is that the styli are not removeable. Some think this is an ‘issue’, because you can’t just buy a new stylus if your party gets out of control and Dave the drunk guy tears your tip off its cantilever. This is of course true but whether MC or MM, expensive shaped styli versions cost most of the price of the original cartridge. If your MC cartridge gets damaged you will have to fit a complete new cartridge or have it re-tipped. This generally costs between 80 – 90% of the price of a new cartridge as most suppliers offer a trade in deal on your old damaged one. In the case of the MM stylus being ripped from its base, sure you just fit a new one all by yourself. A replacement stylus for say the VM530 is still $229. Not a cheap mistake. I can also tell you that ratio (stylus versus original MM cartridge cost) is about as cheap as factory replacements get. Check out Ortofon pricing for replacement MM styli and it’s around the 80% mark as per moving coils.

The bottom line is MM represents a sensible value for money record playing choice that is all most folk need, most of the time. An above average MM sounds really really good. A great MC fitment, properly executed will step you up to levels of detail and dynamics beyond what MM can achieve. MC can provide hair-on-the-back-of-your-neck standing up excitement that moving magnet in my opinion can’t quite deliver. You probably need to allow approximately 4 times as much cash to achieve this though.

Oh and one final point, no matter whether MM or MC if you are to hear the benefits of a superior stylus, you will need a superior turntable/arm combination. Don’t fit a $1200 cartridge to an entry level Project or Rega. Within the Rega range for example you will want at least a P3 before you would contemplate fitting a Fine Line or Shibata equipped cartridge. Now, go and enjoy some music! Maybe with a beer!

And onto the beer!

Hoegarden –

The pronunciation – Apparently its not Hoe Garden, its more Who Harga?? Or not, ask a local I suppose. Fortunately the inability to order one correctly in Belguim (where it is made) does not effect the flavour. This beer has been around forever (check the sticker wrapped around the neck!!) and is perhaps one of the very first rather good beers I tasted that sent me off down the rabbit hole of chasing new taste sensations in beer. Unlike other beers I have enjoyed for 30 years or more though, this one, has in my opinion, not changed in flavour at all.

It pours with a substantial head that is light and fluffy and hangs around for a while. Flavourwise, first you will notice the bready goodness, then an extraordinarily great balance between hop, malt and then just plain old scrumptiousness. This beer is a reference for style (Whit, as in a white beer) for a very good reason. It has an airiness, a delightful perfection. Huge mouthfeel coupled with subtle spice. It completely lacks any nasty cloying sweet tang that a well known American made alternative has in spades. Perhaps not for drinking everyday but whenever I knock the top of one I am reminded that Australian craft beer is a modified V8, built in the back yard under a blue tarp and this beer, well its an F1 V12 machined from solid, in a castle, by geniuses!

10/10. It’s liquid gold.

The post New OC9 Audio Technica cartridge range discussed – OC9XEN reviewed. appeared first on HiFi and Stereo.

History – Who is Jean-Marie?

Jean-Marie Liere, the creator of these somewhat offbeat towers started life in France. I say ‘towers’ but this size of speaker was once known as a floorstander (when a loudspeaker was too large to happily be placed on a shelf). During his time in France prior to exporting himself to Sydney, Jean-Marie worked for Hewlett-Packard. This was at a time when test instruments for loudspeaker measurement cost approximately the same as a small provincial cottage. How times have changed…Test equipment has now never been cheaper and houses are a similar price to tulip bulbs in Holland during the early 1600s! This free access to what was state-of-the-art test gear lead Jean-Marie off on a search for loudspeaker nirvana. The result was his first speaker design, a small monitor style speaker which he sold in commercial quantities. Some time later when his venture did not meet with his financial hopes and a family arrived, he returned to the reality of regular paid work. Sometime later in a land far away (post 1997 when Jean-Marie moved to Australia) a lifelong interest was rekindled. Jean-Marie’s interest in phase correct, fast sounding loudspeakers that offer life-like performance resumed with the current range of Microphase Audio Design loudspeakers. Back in business for the last 5 years, Jean-Marie has enjoyed fine tuning his 2 satellite models, a sub, a centre and the model on review here, the Tower One.

Construction and Design

The Microphase Tower Ones are built right here in Australia to exacting standards. The cabinet construction material is Birch plywood imported from Finland. The unusual, somewhat architectural look may not be to everyone’s taste but I rather like the style. Simple, functional and manufactured by a local cabinet guru who once made enclosures for Richter and Orpheus back in the day. I’m not sure when these two highly regarded manufacturers stopped making their loudspeakers here on home soil, but I don’t believe they do anymore. Moving on to the ‘innards’ of the design, we find more ‘French flair’ (more than being created by a Frenchman). French made Audax drive units abound. Coincidentally Richter and Orpheus also used Audax drive units in many of their designs. They are great sounding drivers in my opinion. Not only my opinion but in the opinion of designers at Spendor, the BBC and Mission over the years. Speaking of the BBC it should be remembered that many BBC designs such as the LS3/5A employed Birch ply as the cabinet construction board too. All in all Jean-Marie would appear to have made some well regarded choices in materials for his designs.

More on design…

Whether you like the look or not, one cannot doubt the build quality of these loudspeakers and the likelihood they will last a very long time. Beautifully fitted together with all components flushed into the front, rear and side baffles. Neat magnetically attached grilles are employed for the side mounted woofer and front mounted mid. The tweeter is kept reasonably safe from interested fingers by a tough plastic ‘acoustic lens’. Bi-wiring is available at the rear by familiar looking 5 way binding posts. Sometimes I wonder what the fourth and fifth ‘way’ are? I’ve got 1) Spade connectors, 2) Banana connectors, 3) Bare wire, 4) Not sure, 5) Don’t know. Anyway, if you wish to drive the woofer with a separate amp you can. Or you could just run separate wires to it from the common point of the speaker terminals on the rear of the amp. Your mileage may vary but for me bi-wiring in this way is right up there with propping your speaker cables up on supports. Bi-amping on the other hand may well help improve the sound, although at some considerable cost. To sum up, these Towers are smart and modern looking. Perhaps one well out on the periphery of what many would consider typical loudspeaker design.

And the sound!

Now the fun bit. I didn’t run them in as Jean-Marie supplied me a pair that had done a bit of work and were fully loosened up and ready to rock. I applied signal via my Naim Star and some files from Tidal. I am very familiar with the sound in my room having used this source on a number of other loudspeakers. I thought therefore, this was a good place to start and hear what the general flavour of the Microphase speakers was. I kicked off with some tracks from kd Lang’s ‘All You Can Eat’ (as mentioned in my article on well recorded music). Immediately it was obvious from the ‘smack’ from the drums that these speakers are fast and are quite sensitive, or at least as sensitive as the spec suggests. A decent amount of detail was obvious and the bass was quite uncoloured. The bass on this recording can be overly full on some speakers but not here on the Tower Ones. The upper treble was in balance with the rest of the spectrum doing just what it needs to do and nothing more. These are not sizzly sounding loudspeakers with exaggerated treble.

Wishing to explore the bass extension I flicked to Nusratt Fatah’s, ‘Sea of Vapours’ on the Musst Musst album (also mentioned in my 10 best demo tracks article). This track dives deep with electronic bass going way down. I also noticed on this track a great sense of ‘air’ but as mentioned previously, without any excessive sizzle from the tweeter. Bass-wise I expected it may go lower than it did due to the largish bass unit and the sealed alignment (rather than the far more common bass reflex alignment most designers employ). Sealed alignments roll off more slowly and tend to offer a more accurate bass response than the sometimes boomy ported alternative. When I took a closer look at the probable box volume though I realised this isn’t really a very large loudspeaker enclosure. I made a quick comparison with another loudspeaker I had on hand that also sported a sealed bass unit design and although a different shape, it offered a similar internal volume. The Microphase towers comfortably outperformed these speakers, not so much in extension but in sensitivity.

Moving onto the delicate midrange area, I played Meav, once again from my demo suggestion article. Her voice has a glass like quality and the ability to upset many a loudspeaker. To some degree the Tower Ones suffered at Meavs voice as well. Just a trace of a hard edge, or maybe some otherwise well hidden resonance was excited by her demanding vocal. I’m not sure, but suffering at the hand of Meav does not place these speakers into some ‘Robinson Crusoe’ like group. I have heard many a well regarded speaker show off some nasties when she is played. Hence a great test I think. Playing a variety of other material I did notice the occasional ‘cupped hand’ like colouration in the mid which for many will go unnoticed but for some may be an issue. Overall the sound of these speakers is rather refined with quite an even frequency response and an enjoyably painted stereo image.

Sum up –

Sum up –

For anyone looking for something a bit different. For those wanting a loudspeaker of bespoke appearance and build quality, the Microphase Tower Ones are worthy of audition and closer inspection. I enjoyed their time in my listening area for their iconoclastic style.

• For – Unusual and quite unique cabinetry.
• For – Built in Australia to last!
• For – High quality components used throughout.
• Against – As much as I like the appearance some who saw them while under review were unsure.
• Against – Some slight edginess/resonances around the upper midrange area could be distracting on some material.
• Against – Just an observation but there is no facility for spikes to be fitted in the underside of the plinth.
• Manufactured by – Microphase Audio Design, Sydney, Australia.
• Dimensions – 195mm Wide x 340mm Deep (plinth) x 955mm High
• Weight – Approx 10kgs each
• Price – $4290pr inc shipping to anywhere in Australia
• Tested with – Naim Star – Straightwire Symphony 3 speaker cables.

Beer!

3 Ravens American Pale Ale. The beer style that pretty much started US based craft brewing. It is owed a lot. I set out to buy something brewed in France for this beer tasting for no particular reason other than Jean-Marie comes from there originally and reckons French beer is fantastique! Alas with the local craft beer scene going mental, and the main stores actually stocking decent beer, European alternatives are very thin on the ground. I visited three stores with no success. I could have gotten close with a few Belgians of some distinction but I’m pretty sure Jean-Marie would agree, Belgium ain’t France. It would appear I am now stuck drinking craft beer if I fancy something fresh and tasty.

So being forced to drink crafties, I thought I’d grab something of quality. A relatively local one in this case, made in Thornbury, Melbourne. I chose this particular one due to the outrageous statements on the side of the can. Very clearly printed in alternating blue and red Arial. Well, some Sans Serif font that is rather basic in appearance. I can report that what is contained within the can is anything but basic. As you may have noticed from the pics, not a lot of head, and frankly not benchmark setting mouthfeel but that’s the only negatives I can express. This is one damn fine and complex APA. Very much a hyped-up version of Sierra Nevada Pale Ale which is probably still the reference beer for the style. Terrific balance of malt and hops, probably more hops than malt but not enough out of whack to annoy. I mean, you want more hops right? Well this beer delivers. As much in bitterness as late additions, mmm yummy! I can’t see an alcohol content number on the can but it states 1.6 standard drinks so I guess about 5%. (Edit – found it in large print – 5.5%) No nasty aftertaste, and as mentioned, very satisfying levels of complexity. It keeps you guessing as to what you are in fact actually tasting. This is old school APA goodness, nice and fresh and ready to be smashed down 3 at a time. A solid 9 out of 10 from me. Only let down by lack of body/head. Buy some now before they decide to stop making it again.

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Let me just quickly get the correct title of this tube phono pre-amplifier out of the way. The name appears in various forms on the internet so I thought a quick check with HQ would be the answer. Strangely the product under review here does not appear on the EAR Yoshino website. I remembered I had a ‘snap’ of the EAR Phonobox at it’s release at Munich High End 2019. I then also remembered I had the instruction manual sitting on the desk beside me and the actual product in the listening room… Combining all of these data sources I guess we can be sure that indeed it is the ‘EAR Phonobox’, not the Phono Box, PhonoBox or any other variation of the basic concept of a box that amplifies a phono signal.

Of course the lack of updates on the EAR Yoshino website may well be due to being distracted by the sad passing of the creator of the company, Tim de Paravicini. Designer of this very product and possibly, the last product designed by Tim. In some ways the Phonobox is not a bad note to end on. It enjoys simple, straight to the point engineering and industrial design. It employs the minimum necessary components to perform the function required and these are incased in a ‘box’ just big enough for the job. The sound seemingly extracts the best tubes have to offer, whilst minimising the negatives that can come from using devices designed 100 years ago.

Even the normally complex, input-matching arrangements for a Moving Coil cartridge are forsaken. In this case, they are not required to the same degree as traditional active designs. The Phonobox uses matching transformers to obtain the increase in level required when using a very low output MC cartridge. Other aspects of the design, which have Tim’s signature style written all over them include; the choice of valve; the lack of fancy ‘audiophile’ brand components and for a small extra fee, a chrome front panel. In regard to the vacuum tube choice, the 13D16 (three of them) is not a tube ID that Googles successfully. It is, in effect, an ECC83 with a few tweaks and is made specifically for EAR Yoshino. Tim made it clear to myself (and anyone who would listen) that mucking around trying various different versions of a tube in one of his designs was not on. The amplifier has been designed to work with this tube and anything else will throw it out of whack (I’m paraphrasing, he would have said it somewhat more elegantly, and firmly). I guess using your own tube specification stymies the less adventurous ‘tube-rollers’. So all in all a very typical Tim de Paravicini design. Slightly quirky tube choice, coupled with a simple internal design and solid, last-forever construction.

The simplicity continues on the outside with just an output level control, power switch, a pair of inputs and a switch to choose between MM or MC. The apparent quality is high but certainly not some kind of hewn-from-solid swiss watch type of contraption. Just simple good quality construction that should last the better part of a lifetime. The volume control is the familiar and high quality, Alps Blue Velvet. The front panel is a solid hunk of metal, as is the volume knob. The switches and sockets are a notch or two up from basic spec. The substantial rubber feet will never fall off as they are firmly screwed on, and the casework is of decent thickness folded steel. The earth screw is easy to use and again, not the crappiest thing they could find in the parts bin. The more I look at this outwardly simple device the more I realise the amount of thought that has gone into it. I also note that many of these rather good quality parts are not often part of the spec of similarly priced phono stages.

This new phono pre-amp from Mr de Paravicini is of course not his first effort at a turntable signal amplifier. The 834 that went before came in a fancier box (more gold plated parts), and was of slightly more imposing proportions. The 834 sold for approximately $1000 more than the Phonobox. It had been around for 25 years give or take and had been improved along the way. It is a fine sounding pre amp and sold very well over the years. My guess is though, that it would have sold even better at the price point the Phonobox is now offered at. Anyway, at some point the design has been reverse-engineered or has escaped the walls of EAR Yoshino HQ. As a result, Tim felt a complete re think was in order. He did not disguise well his annoyance at the dodgy rip off versions of his early design being sold on eBay cheaply. A clean sheet of paper design was in order and here we are today listening to his completely revised version of his company’s entry level phono stage.

The sound!

I initially tried the VM530 MM cart already screwed to my older LP12 on the MM setting (of course) and sat back, enjoying the pleasantly detailed and snappy performance. Valve stodge or an uneven, coloured response was not apparent at all. In fact the sound was rich and clean without the slowness or lack of excitement that sometimes comes from tube amplifiers. Maybe not so much from low level phono pre-amps but nonetheless, I feel this ‘zip’ was not a feature of the EAR 834P. Memory tells me it was a smidge tailed-off in the top and for me a small notch too ‘warm’. The Phonobox is an altogether more interesting listen, to the degree that those who have doubted the value of tubes in a low level circuit like this should re-visit the possibilities.

I had a new Audio Technica OC9XEN on hand (which will be reviewed shortly) so I set about fitting it to the the Sondek and getting a taste of the Phonobox with the transformers ‘in-circuit’. My memory of the less expensive Audio Technicas with fixed magnets is of them offering a warmer balance than the more expensive versions. If this is the case then maybe the Phonobox in MC mode is the tinniest bit brighter than neutral but it won’t be much. Not that I am implying the frequency response is anything other than more or less dead flat (ignoring RIAA de emphasis). It’s more the nature of the way these tubes and their accompanying circuit ‘sound’. This is one fast and detailed tube circuit, no doubt. Hence it could be described as being a bees antenna brighter than neutral. However it really is just the amount of detail and pace, and I wasn’t expecting it. The 834 was marginally the other way I reckon. The bass is amazing, real snap, weight and poise. The stereo performance was somewhat holographic, and a very stable hologram at that.

Back to back, MM versus MC, I don’t think there is anything in it. The basic character of the amplifier remains the same. I listened to a record that presents a real challenge, Kerrie Biddel, Live at Studios 301, recorded circa the ‘dark ages’. Through the Phonobox, her voice shines and yet ever so sweetly which rarely happens listening to this album. Her voice can have an edge to it but not with this combination. The sax and flute on this album are very well recorded but again can sound a touch grainy. Thanks to the EAR’s ‘just-right’ character, these instruments now sound perfect and Graham Jesse’s skills can be fully enjoyed.

I chose to lift the stylus from the groove at this point as it was time to test the beer for this review. Before I ‘cracked-tubes’ I listened again, this time to silence. For a moving coil pre-amp employing vacuum tubes as active devices this amp is incredibly quiet. With the Linn’s motor still running and both volume controls dialed to max there is only a muddled blend of microscopic hum and noise. At a later time with the VM530 Audio Technica cartridge refitted, I note (in Moving Magnet mode) this pre-amp to be virtually dead quiet. This is quite a win really as one of my key reasons not to get excited about some tube phono stages is noise. Problem solved!

On another note, a fantastic reason to use tubes in a phono stage I think, is to be in an analogue synergy with the source. Actually, it’s nothing to do with analogue as transistors of course still operate as analogue devices in a class A circuit. What it is though, is a nostalgic synergy. It somehow seems right that the old world of black vinyl replay should be coupled with what was used at the time when LPs began. The valve! I highly recommend taking a listen to this pre-amplifier if a superior phono stage is on your shopping list.

• For – Elegant simple industrial design coupled with typical handcrafted UK build quality
• For – Plug and Play MC connection, no messing with loading settings etc.
• For – An almost perfectly neutral balance coupled with a good dose of valve friendliness, balanced by plenty of detail and pace
• For – Fast accurate bass and there is plenty of it.
• For – Very enjoyable and stable stereo imaging
• For – Handy output level control allowing you to perhaps even use it as a single input pre-amplifier (with just a power amp).
• For – Very good component quality throughout. This unit will last a long time.
• Against – Lack of MC adjustments will trouble some.
• Against – Not actually cheap, but when compared with other offerings at the price range it stands out as something quite different to marketing orientated, op amp stocked, mass produced boxes.
• Against – Runs quite warm. For maximum life I suggest switching it off between listening sessions. It only takes 15 minutes warm-up to sound at it’s best.
• Price – $2495
• Dimensions – 180mm Wide x 79mm High x 312mm Deep inc volume knob and earth terminal.
• Imported by – Audiofix
• Tested with Linn LP12 and AT VM530 and OC-9, Naim Star, Falcon LS3/5A

And the beer!

Slipstream IPA is an enjoyable enough beer. It pours with a bit of not particularly dense head that in turn quickly dissipates. There is little nose if any when you crack the can, and not much at all from the glass as you sip it. Colour is lighter than most, malt flavour lighter than most. A somewhat nasty aftertaste follows. As I said, an enjoyable enough beer but this is not in the class of other IPAs I have recently tried. Alcohol is nicely disguised which might be part of why it slips down easily but not with the satisfaction of say Helios Cyclops or Sea Legs Breakaway IPA. Unfortunately it’s just another IPA made locally to an okay standard. Cool name, I wanted to like it, but sorry it’s a solid 6.8 out of 10 for me. Oh and writing “Bright, Fruity, Aromas with Herbal Undertones blah blah blah” or “Hints of Bubblegum, Fruit Blossoms and Apricot” on the can doesn’t make it so. Yeah I bought a four pack but I’m not buying another. Less BS on the outside of the can and more effort with the process of making what’s inside the can would be a good plan. Sorry about the negativity, but I have a couple of crackers coming up in future reviews, I promise!

The post EAR Yoshino Phonobox – Tubes that work! – A Review. appeared first on HiFi and Stereo.

We used to make all sorts of things in Australia as diverse as electronics, clothes, watches and cars! There were a host of Australian made loudspeakers too, including some names still around such as Richter, Duntech and Krix. Unfortunately many have gone…forever. Of those that remain, I suspect that many components of these brands are sourced from overseas. In many cases they may even be assembled overseas. It might be a stretch to regard them as still ‘Australian made’? For many buyers though, it doesn’t matter where it’s made and for the manufacturer the choice may well be to go offshore, or go out of business. I fully understand this but Scott Wilkinson at Alderwood Speakers is ignoring this trend. He loves the concept of making things here in Australia. He has designed a particularly cute speaker AND makes the vast majority of the component parts on the premises at Alderwood HQ in Victoria.

Digging further into how the Alderwood Eros Pro was designed and made Scott tells me, that the drive unit (there is only one per box) is of his design. Particular care was taken with the cone and roll surround materials to get just the tonal balance he was looking for, plus durability and moisture resistance. The driver is assembled at Alderwood HQ and magnetised on the premises. The enclosures are also crafted in-house on various CNC woodworking machines. Hand finishing, assembly, careful testing and packaging for shipping all happens at Alderwood’s Cobden facility. A stunning part of country, very near the 12 Apostles on the Victorian coastline.

And they arrive very nicely packed indeed!

It is great to see an Australian built product arrive so ‘complete’. There was proper packaging, labeling and an instruction manual. Within minutes I had the Eros attached to their brackets and stands, cables plugged into the ever-ready Naim Star and music playing. Mmmm but there was a catch…

The Alderwoods are obviously very well made. Well made enough that they sport an IP67 rating which in ‘English’ means you can use them on a boat. This boat could be off the 12 Apostles taking a lot of green water over the bow and they will keep on playing. I’m not sure I would want the green water smashing into the speakers directly but the point remains that they are marine rated. In fact the IP67 standard suggests they could play under water for up to half an hour! They are offered in a range of finishes including the clear coated finish on display here but also a textured black or white painted finish. In fact if you are willing to wait Scott can organise a pair in any colour you like. I’m guessing this ‘customisation’ might come at a small premium, but the clear, white, black option all retail for $1900pr. For me the clear is definitely the go, they look stunning. Included in the box are a pair of rather handsome machined brass swivel brackets. These are included in the price and yet look very ‘bespoke’ (and pricey). Scott also supplied some appropriate cables and his new speaker stands. Both are $99 optional extras (a bargain!).

And the catch is…

When I say these loudspeakers are tiny I’m stretching the truth as they are in fact, miniscule. Take a look at the picture below for a scale shot to give you an idea just how small they are. To the uninitiated it might seem they could not possibly produce serious volume or great sound quality. The catch of course is that they do not even attempt to produce any low bass notes. In fact the lowest bass is gently filtered out by a built in simple passive crossover. This leaves the vast majority of the audible spectrum intact but the need for high excursion cones and big boxes is removed. Those lower notes that require real power and authority are handled by a subwoofer of your choice. Alderwood manufactures a few, but I was interested in what an inexpensive solution might sound like. With this goal in mind I sourced an REL T Zero on short term loan from my friendly neighbourhood HiFi store – The Audio Tailor. (Also currently Australian HiFi Retailer of year!) The REL is a highly regarded incredibly small powered woofer that is both fast and musical but also rather well priced at only $699. It was a guess on my part that this little sub would work well with the Alderwoods, as it turned out I guessed correctly. I wired them directly to the HiFi and Stereo resident Naim Star, using cables Scott at Alderwood supplied with the correct connectors fitted at each end. I connected the REL subwoofer directly via an RCA lead to the pre outs of the Naim. I tweaked the low pass filter on the rear of the REL to its highest setting, adjusted the level control to the middle and powered everything up. Now I had full range sound.

And the sound?

The Alderwoods have an immediately appealing light and bright balance which causes instruments such as acoustic guitar to sound exciting and dynamic. The obvious pace and detail of the Alderwood’s sound also adds fruity colour to husky male vocals such as Joe Bonamassa and Robert Cray on track 4 of Lee Ritenour’s Six String Theory. The overall effect is a little like feeding acoustic instruments through a Concert PA, they become larger and louder. Through a PA they also become somewhat less clean and a bit harmonically challenged. In other words, their frequency range is perhaps ‘enhanced’ or some would say ‘coloured’. For many this is no bad thing and frankly for their (the Alderwood’s) incredibly small proportions and price, a damned fine outcome.

I do note that the instrument most effected by their exuberant performance is the female voice. For those looking for a particularly sweet and seemingly accurate rendition of your favourite lady singer, you might need to buy larger and probably more expensive loudspeakers. I still very much enjoyed the likes of Janis Ian’s ‘Breaking Silence’ Album (an album I should have put in our 10 hot demo tracks article?). Her easy to get along with voice does not shine a light on any limitations the Alderwood’s incredibly tiny full range driver may cause.

I should mention that the integration I easily achieved with the REL T Zero powered subwoofer was perfectly seemless. The full range of sounds appear to come only from the tiny enclosures. I experienced none of the old ‘Bose-like’ boom-boom from one corner, a hole in the response and then tish-tish from the main speakers. I should also say that the quality of stereo imaging was impressive with great accuracy of placement and significant width and depth.

So, overall an enjoyable sound if not the last word in audiophile perfection. But then, seriously, at this price and size that was unlikely. The laws of physics are almost certainly impossible to break, but Alderwood have come very close with the Eros model. Their slightly brightly lit and mildy coloured response is likely to be just what many want to hear. If you were to consider them a loudspeaker more in the ‘lifestyle’ category rather than an outright attempt on HiFi world domination, then I reckon they are a great success.

And to Sum Up !

I thoroughly enjoyed my time with these hand crafted gems. In a situation where you really do not want to see the source of the beautiful music in the room, these Alderwoods can be highly recommended. They can also be highly recommended for those that want their cash to stay in Australia. You can support a small local business trying very hard to manufacture something here. Australia is a very harsh environment for those designers who would also like to make the product locally. Good luck to Scott Wilkinson, I wish him well on his quest to bring back real ‘made in Australia’ manufacturing and from what I see and hear with the Eros model, he is likely to succeed.

• For – A very high quality product designed and made in Australia.
• For – Rather stunning aesthetics.
• For – Impressive sound quality and scale for their size.
• For – Impervious to dust and moisture.
• Against – You will also need a subwoofer to obtain full range sound.
• Against – Slightly exuberant nature of the tonal balance may not suit some listeners or all material.
• Manufactured by – Alderwood, 56 Curdie Street Cobden, Victoria Australia – www.alderwoodspeakers.com.au
• Price – $1900pr inc brackets (stands and cables extra at $50 each)
• Tested with Naim Star and REL T Zero (on loan from The Audio Tailor)

Beer! The stereo is on, favourite album queued….

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Cambridge Audio, a brand constantly moving forward!

Brought up on HiFi of the 70’s and 80’s, Cambridge wasn’t a brand that featured in my ‘audio learnings’. This was probably due to the fact that it was flailing, with ‘revolving’ ownership and somewhat rudderless. I’m not even sure the brand was imported into Australia at that time. Wow, how things have changed! The rudder was reattached in 1994, with the purchase of the Cambridge Audio label by Audio Partnership. Since that day, Cambridge has moved forward with an ever-expanding range of quality, affordable stereo gear. This growth occurred at a time when it seemed other brands were beginning to flail.

Cambridge currently offers four product ranges, kicking off with the entry level Topaz range of CD players, amplifiers and receivers. The range tops out with the ‘Edge’ pre streamer, an integrated amplifier and a power amplifier. The CX range sits in the lower middle, representing perhaps the most sound quality for the least bucks. The CX range consists of two integrated amplifiers, the CXA61 and CXA81; a CD transport known as the CXC; and the streamer being reviewed here, the CXN. I should also mention that the CXN I’m testing is the latest version, V2.

The CXN has been around in one form or another for many years. Cambridge got in early on the idea of removing the PC from the listening space but keeping the advantages it brings. Initially the NP30 waved the flag for Cambridge branded streaming. A year or two later it was followed by the bigger chassis sized Stream Magic 6, and then in quick succession, the first version of the CXN. Cambridge have had 10 years to hone the performance of this product and is now highly featured and rather slick.

What does it do?

The short answer is, a lot! You can play music the following ways –

1) External digital sources such as a CD player, DVD player, TV sound or a PC. As per a normal DAC via Coaxial, Optical or USB inputs.

2) Internet radio.

3) Stream subscription services such as Spotify and Tidal, with Tidal being controlled within the Cambridge app, known as ‘StreamMagic’.

4) Stream your own digital files from either a USB stick or USB HDD, or over your local network (files stored on a PC or NAS) connected either with ethernet or wirelessly.

5) Airplay, Chromecast and Roon capability or compatibility is also on offer.

6) Bluetooth is an ‘option’ with the addition of a Cambridge BT100 USB plug-in dongle. The BT100 will in fact plug into various other Cambridge Audio products and add BT functionality (including AptX compatibility). Having previously tested one and finding it to work perfectly I didn’t try one with the CXN during this review. I assume Cambridge have made this an optional plug-in unit for two reasons. One could be that a Bluetooth transceiver needs to be in a plastic housing and the CXN is crafted from pressed steel, making it very hard for radio waves to escape. The second possibility being that Chromecast and Airplay offer improved fidelity making Bluetooth somewhat redundant. There are few households where a CXN might live that will not have a WiFi network and in turn the residents phones will almost certainly be connected to it. This makes Chromecast and Airplay the best solutions to get music out of your phone or tablet and into a HiFi system.

7) It has the option of a variable output, effectively making it a digital pre-amp. This output is either via unbalanced RCA connectors or balanced XLR connectors. The digital outputs can not be made variable, so perhaps it’s not a ‘true’ digital pre amp? You can either use the CXN with an integrated amplifier such as the CXA81 OR in fact, with a simple power-amp. This then allows you to build an all-in-one system (but in 2 boxes so not all-in-one at all, really). If you were to use the power amplifier option, you would take advantage of the variable output function. This combination would end up being physically larger than say the Naim Atom, but would require a smaller cash investment.

In fact the only downside to playback compatibility I can think of is the lack of FM radio or any analogue inputs of any kind.

Professional HiFi repairs performed by a qualified technician available now in Brisbane

You can control the CXN V2 in many different ways. In a very old school way, you can drive it from the front panel using the sometimes volume knob as a curser controller and enter button in one (the knob pushes in for enter). The built-in screen shows the menu. The handful of buttons surrounding this display allow functions to be accessed that the main knob can’t handle such as ‘return’, ‘home’ etc. I can report that these front panel controls work flawlessly, even allowing very easy inputting of WiFi passwords. A similar result could also be achieved with the supplied remote control handpiece. This remote has plenty of buttons, also allowing control of other CX series components and has a nice feel and quality look to it. There is also the Android and iOS compatible app, known as ‘StreamMagic’.

The Stream Magic app

This app ‘thing’, is where many brands have failed in their attempts at creating an intuitive and enjoyable streaming experience. Cambridge have been updating and improving their control apps since the Stream Magic 6 streamer was released approximately ten years ago. I reckon they now have it working rather well (not that it was ever truly bad). I installed the StreamMagic app on my iPad mini and my now rather old iPhone 6s without trouble. Apologies to those in the Android camp, but my previous experience with this app would suggest that Androids also work well. Functions-wise you can control pretty much everything from the app including all the settings. Inputs can be selected on one page, the next offers up a stack of internet radio stations. and the search function allows you to find the other 68,000 not displayed by default. Another page shows all your media sources such as Tidal or a NAS drive and these are also just a click away.

Once a file or radio station is playing, clicking at the bottom of the screen pops up another window offering transport controls. A swipe left or right brings up either a volume control or the ‘queue’ options. For me this is where the app is a little less than intuitive.

In the end I feel I got into the head of the Cambridge software engineers, by treating the main music selection menu as just that. You select tracks to add to the queue, then enter the queue (pop up menu and swipe right) and select what you want to actually play. Otherwise, when a song ends it jumps back to the last item in the queue, rather than the next track of the album. This is bloody annoying as you probably just listened to the last item in the queue. However, it makes complete sense once you understand it. It’s really only the difference between ordering chicken at KFC versus Red Rooster.

I suggest clicking on the app screen-shot gallery below for further notes on the ins and outs of this highly featured app. It worked perfectly 99% of the time. The only time the app lost it’s way was when the music stopped, causing the CXN to sleep (20 minute setting) and my iPad was locked. The fix was nothing more than closing the app and re-starting. It’s hardly surprising really under those circumstances when everything has ‘gone-to-sleep’. I think Cambridge’s IT team have done a great job and I imagine they are working on a fix (if it even needs one). At the time of writing there have been more than 10 revisions of the Stream Magic app in the last year or so. Some of these updates are because of feature additions but clearly they are are keen to get it right and are responding to users issues.

BUT there is now a further option available to control your CXN V2 and improve the listening experience at the same time – ROON !

I know Roon exists, I have heard it mentioned in audio circles many times, always seemingly in a positive light but I have not dabbled with it, at all. I feel it has been an obvious gap in my HiFi knowledge and experience so here goes!. The time is now to investigate this all-conquering, music-streaming and multi-room control system. What is it? How does it work? More importantly in the context of this article, how does it work with the Cambridge CXN V2. Well here goes! ……….. I think within minutes, I had signed up with Roon, downloaded the software and installed it. I installed the ‘core’ software on the very laptop I am typing on now, pointed it towards my folder of FLAC files, logged into my tidal account and ta-da! Roon found the CXN immediately and I had sweet music playing. There was some confusion regarding the variable volume output (Roon considers it’s volume range as 0 – 30 versus the Stream Magic app’s 0 – 100). I rate the whole Roon experience as 10 out of 10 for integration, simplicity and the interface. I guess I have joined the ranks of Roon fans just like that. Yet another subscription in my life, of $12.99 per month…

Check out this gallery of StreamMagic app pics and comments.

And the sound?

What’s not to like? A very slightly warm balance with a shred less detail and clarity up top than some much more expensive competitors. Or is it that the competitors shine an unrealistically bright light on the top end, that doesn’t actually exist in the real world of live musical instruments? I tested it in a variety of ways attempting to discover where the limitations, if any, might reside. I didn’t have another ‘competitor’ as such handy but I did have a well-known do-everything all-in-one streamer/DAC/amplifier on hand. It sells for 3-4 times as much as the Cambridge and you would expect it to maybe wipe the floor with the CXN, but this didn’t happen. In fact, feeding the digital output of the Cambridge into the coaxial digital input of the all-in-one (Naim Star) and using the Naim’s DAC while comparing Tidal tracks was illuminating. So, effectively one streamer’s digital-out versus another. Although, being in the same box, the Naim may have held a small advantage in some kind of obscure, digital-timing kind of way.

As a bit of a believer in ones and zeros being uncorruptable, I shouldn’t be surprised that for me the two sources sounded exactly the same! On the other hand, my belief is often crushed by what I can easily hear. One example was playing High Resolution files from a USB stick. Initially I tested it with the stick in the CXN. I switched between the analogue output and digital out with both plugged through the Naim’s respective inputs. What I heard was very high quality sound. However, when using the Naim’s digital in and therefore it’s DAC, there was a slight improvement in clarity and focus across the spectrum. I then plugged the thumb drive directly into the Naim, in effect comparing the drives through the Naims DAC. Playing the same files I was surprised to hear the sound became somewhat more focused with the stick playing in the Naim. Further evidence that my quite shakey belief in ones and zeros being always, well ones and zeros, is flawed. HiFi life would be so simple if it wasn’t this complicated!

So the USB drive input in the CXN sounds great but bizarrely not as good as the Naim one? I suspect this difference is down to some kind of sampling/bit rate, up-sampling, down-sampling hocus pocus. I moved on, to try other inputs… A pattern developed with the CXN’s ‘sound’ being of a very slightly ‘mellow’ nature.

I also spent some time checking out sound quality with the USB streaming audio input. For me this is a pretty clumsy way to enjoy music, but there is the potential for first class sound from High Bitrate files. It took an hour or so of fiddling around installing the type 2.0 USB driver and finding the setting in the menu, (where you flick the USB from type 1.0 to type 2.0). I then installed Foobar (for the first time in 15 years, but it looks the same) and configured it and the ASIO driver etc, blah blah, blah. The results were less than amazing. I wrote the whole experiment off as an old world solution that almost no one is going to bother with anymore. I’m going to guess USB streaming works rather better with a Mac than my Windows 10 laptop. What I did hear didn’t match up with playing the same files off a thumb drive. A thumb drive is so simple. Just drop some files on the drive, plug it in to the front and play via the app. It all happens flawlessly. My guess is that the high-resolution-audio capabilities of Roon eclipse anything USB streaming offers and in a solution where the computer doesn’t need rack space next to the CXN.

I tested the internet radio and found it to be the equal of anything else I have ever used for this task. The inbuilt DAC will be an upgrade for many sub $1000 CD players too, judging by what I heard.

So to summarise my thoughts on the sound quality of the CXN V2.

The much more expensive Naim is just a touch more focused. The music appears to arrive off a slightly darker background, has a slightly more dynamic nature to it and is perhaps a smidge cleaner. The difference between it and the CXN is so small that there is no way in a blind test I could pick it every time. The reality is unless your system is a sporting a seriously first class pair of speakers and a pretty fancy amp you shouldn’t concern yourself. As a percentage of the difference between two very good loudspeakers, the difference here is a tenth or less. Most readers’ systems will have far bigger issues to resolve before this tiny difference becomes ‘the’ issue stopping a lot of listening enjoyment.

So overall in regard to the sound its a solid 9 out of 10 without even considering the price. I now fully understand why the Cambridge CXN V2 is a big seller. It’s a first class, reliable all-rounder with incredibly pleasant sound. In fact, it does seem to do, everything! Happy Listening!

Click on any image above to enter the gallery and enjoy high resolution images of the Cambridge CXN V2.

• For – An extremely competent, fully featured, terrific sounding all-rounder.
• For – Rather nicely made good looking piece that could blend into almost any existing system aesthetically.
• For – Incredibly easy to use. In the time honored male fashion I didn’t read a single instruction except when trying to get the USB streaming audio up and running.
• For – Great upgradability in a number or directions – The balanced analogue outs, the ability to use it as a pre amp, the Roon compatibility, to name a few.
• Against – App is not the most intuitive or prettiest but it ultimately does the job very well.
• Against – USB streaming audio config is tricky with a windows PC but who cares when Roon is wiping the floor with such olde worlde-ness.
• Against – No Bluetooth may annoy some in certain situations. The add-on BT100 dongle will resolve this though.
• Against – Nothing else.
• Dimensions – 430mm wide x 85mm high x 325 deep including front panel knob and rear sockets that sit proud.
• Weight – 5.5kgs.
• Price – $2099.
• Optional BT100 Bluetooth Adapter – Price $199.
• Imported and distributed in Australia by – Synergy Audio Visual
• Tested with – Falcon Acoustics Silver Badge LS3/5A, mounted on SQ402 stands, Naim Star and music from – 10 Hot Demo Tracks

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The turntable !

Yes, you are going to need a turntable… There are probably three kinds of turntables out there – 1) New turntables of quality, probably starting at around $500. 2) New turntables of poor quality starting at around $50 and rising in cost to around $500. 3) Used turntables from the heyday of vinyl, say the 70’s and 80’s. These could be further divided into two groups, the all-in-ones (stereograms and 3-in-1s as they were known in the day) and proper turntables (HiFi turntables). Lets take a closer look at the various options.

Lets briefly discuss stereograms, radiograms and 3-in-1s.

They are all more or less the same thing ie. A record player, amplifier and speakers all in the one cabinet. In the case of the ‘3 in 1’ it was generally a turntable, receiver and cassette deck all in one chassis with a pair of speakers thrown in (they threw them in because they were valueless). If you are collecting records and would like to keep them in good nick and hear them at their best, you DO NOT want a radiogram. “Why? They look so retro cool” I hear you ask. Why? Because they were rubbish when they were new and have not improved with age like some kind of electronic fine wine. In this world where almost everything you can buy works, it is perhaps hard to understand the gulf of performance between a proper HiFi system of the 70’s and one of these all-in-one compromises. Some fast facts – Firstly they track at 3 to 4 times the tracking force of a quality modern turntable/magnetic cartridge combo and WILL cause wear to your records with every play. Secondly they sound dreadful. Thirdly they are the olde worlde version of the worst piece of crap you could currently buy, nothing more. They were the cheap music playback solutions of the 60’s, 70’s and 80’s and cool or otherwise now, they are worn out from sitting around and cannot be successfully repaired. They could possibly be rebuilt if you could find a tech that does that sort of thing but the cost to do the job properly is way more than just buying a decent new stereo. The result will still sound and perform poorly compared to other options discussed here. Just don’t!

Right! Now onto some less hipster cool, but superior sounding options.

Used turntables from the good old days also have issues now that they are getting on in years. The fact is they are all around 30 – 50years old now. Even if little used over these years the materials they are constructed of will have in many cases changed their nature. Rubber parts will either be rock hard, have turned to goo or just perished away to dust. Oils and greases in theory all need to be removed and replaced with fresh. Wiring will be corroded and insulation hardened and inflexible. In regard to brand and model, all old turntables were not made equal. Just because it comes with a wooden plinth (or at least one covered in ‘wood look’ vinyl wrap) may make it ‘retro’ but it doesn’t make it a perfect device to play records on. Even if it is in excellent condition having been professionally rebuilt it’s performance will vary enormously from one brand and model to another. Some experience and research can help you with what’s good and what’s not but in the end price is largely indicative of quality. The bad news is, all the good ones are now bloody expensive! I note from my Googling that for example, old Thorens and Regas are bringing money far beyond the performance they deliver. The bottom line is that if you are buying a used turntable privately without warranty, be careful. Allow perhaps $400 approximately to have a repair tech bring it up to spec or fix any unseen issues. Oh, and there is no old, affordable turntable that sounds better than a new one dollar for dollar. So, once again you are sort of buying nostalgia.

Which brings us to cheap new turntables. I’ll keep this super simple – just DON’T !

They simply don’t play records, don’t go there. ‘Things’ like Marley and Flea Market are best donated back to the Marley foundation or sold at a Flea Market. They don’t spin at consistent speed nor are the tonearms of sufficient quality to allow the stylus to track the groove properly. A nasty cheap cartridge does not help either. Sure they might kinda work out of the box but I have seen these close up and in pieces and the engineering is not pretty. The least expensive Audio Technica, Pioneer etc for $200 or less are also to be avoided If you are serious about maintaining your collection of vinyl in excellent condition. These inexpensive solutions sort of work okay but if you want to enjoy stunning sound quality you will need to spend more, but not much more.

Quality turntables have never been cheaper!

You can buy a simple Project or Rega brand turntable from high $400s to low $500s which is much the same price as they were 40 years ago. For the sake of a meagre half a pay check, buy a good turntable and you simply will not regret it. These things are simple, well made and will last almost forever. The difference in engineering quality between the previously mentioned new turntables and these is light years. I won’t get bogged down with which model from which brand. Visit a HiFi specialist or two in your area and take a listen to either of these brands (or Music Hall and maybe New Horizon). Prepare yourself to be impressed. Clean, lifelike sound with tight weighty bass, and a sweet midrange/top end. Less crackle and pop and more music is what you will also hear.

Between $500 and $1000 also represents the price range where small increases in price bring quite large and easy to hear improvements in performance. Do have a listen to a few alternatives and make sure you are happy with ‘entry level’ quality. It may be that a few hundred more spent now is actually a better investment for you as you improve the rest of your system. Save yourself the hassle of trading up later.

Of course, you will also need a stereo amplifier of some sort and a pair of loudspeakers. I will make some suggestions on what course to set for success with those purchases in a future article.

By the way I’m a bit of a hypocrite as in a previous article I had terrific success with a new Audio Technica cartridge fitted to my Linn Sondek. The results are fantastic, but for the money the Linn owes me plus the new cartridge I could have had a P6 Rega (for example) which out-shines the Linn in a couple of areas of performance. The fact is I wanted the Linn for a variety of reasons including nostalgia. I always wanted one having spent a lifetime working on them. They do have a very charming sound as well, but the Rega is a sharper tool. Why wouldn’t it be being a 40 year newer design of good quality. I love my Linn though and won’t be trading it in anytime soon!

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