The DALI SPEKTOR 2 Bookshelf Loudspeaker is a value-priced high-performance compact speaker with a furniture-grade finish and audiophile sound.
I’ve just received a pair for review. Secrets Sponsor DALI Loudspeakers is known for making products that are as well regarded for their furniture quality construction as their high-end sound. Over more than 35 years of designing and building speakers, they have built a clientele of more than one million customers in over 70 countries. Secrets Sponsor The leadership at DALI determined that the world needed a loudspeaker which was both affordable and musical. With the SPEKTOR line of speakers, DALI has accomplished the company’s goal of bringing the DALI experience to a new level of attainability to audiophiles with a limited budget. The speakers here for review are from the middle of the line, the SPEKTOR 2, retailing for a modest $400 per pair. Watch this space for my full review of DALI’s present to the audio community. The post DALI SPEKTOR 2 Bookshelf Loudspeaker Preview appeared first on HomeTheaterHifi.com. DALI SPEKTOR 2 Bookshelf Loudspeaker Preview published first on https://123movieshub.tumblr.com/ via Tumblr DALI SPEKTOR 2 Bookshelf Loudspeaker Preview
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The BenQ GV30 Portable Projector is a truly convenient lifestyle product. In minutes, you can set it up, indoors or out, project an image up to 100 inches diagonal on a wall or screen, and enjoy full rich sound.
BenQ’s GV30 Portable Projector is a compact and convenient projector that can be set up just about anywhere, even outside. It throws an image up to 100 inches diagonal onto a wall or screen. With water-resistant construction and a small chassis, it’s easy to sling over your shoulder in its included carry bag. You can even run it from an internal battery for up to two-and-a-half hours. An Android streaming dongle installs inside it so you can stream your favorite content from the internet. The best part is its internal speakers which deliver surprisingly rich and vibrant sound.
Highlights
BenQ GV30 Portable Projector
Introduction
If a projector is to be truly portable it must be small and light. And it should have a short-throw lens and rugged construction. And it should come with a nice carry bag. And it should work without an external video source or the need for power. Wait, what!? Yes indeed, the BenQ GV30 Portable Projector does all these things including that last one. It has an internal battery that powers it for up to two-and-a-half hours. That’s a first in my experience. It also has a maintenance-free LED light source rated for 20,000 hours. The light engine is a DLP chip with 720p resolution. Though it doesn’t have HDR or cutting-edge video features, it does include a wide color gamut. It also has a slick auto-focus system that gets the picture sharp with the touch of a button in only a few seconds. Secrets Sponsor The best part though is its sound quality. Audio in projectors is usually more of an afterthought with most units sounding like the tinny speakers built into televisions. But the GV30 goes way beyond that with a 2.1 array of drivers that put out a surprising amount of bass and distortion-free volume. All of this is packed into a water-resistant chassis that isn’t much bigger than a hard-cover book. The carry bag? Yep, it’s in there. This is one cool projector that I’m looking forward to checking out.
BenQ GV30 Portable Projector Specifications
Type:Single-chip DLP 0.23” Native resolution:1280×720, 16:9 (accepts up to 1080p) Light source:LED Service life:20,000 hours Light output (mfr):300 ANSI lumens Throw ratio:1.2:1 Image size:30-100 inches Video connections:2x HDMI 1.4b Audio connections:3.5mm analog output Speakers:2x 4 watts, 1x 8 watts Dimensions:4.7” x 7.7” x 7.3” (WxHxD) Weight:3.5lbs Warranty:3 years BenQ GV30 Portable Projector Price:$599 Company:SECRETS Tags:Benq, gv30, dlp projector, led projector, portable projector, Projector Review
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Design
At first glance, the GV30 doesn’t look like a projector. It reminded me of a cool case used to hold 45rpm records, except in miniature. Sticking out the top is a leather loop that lets you carry the projector with one finger. At 3.5 pounds, that isn’t too difficult. The round shape isn’t just for show; large grills on both sides vent what is by far the best built-in speaker system I’ve ever heard in a projector, ANY projector. Though small in size, the array of midrange/tweeters and a single woofer produce convincing bass and a wide soundstage. They also manage impressive volume from just 16 watts total amp power. Careful tuning, a DSP controller, and a smartly engineered resonance chamber are the main reasons for the GV30’s superior audio. And the speakers can be used via Bluetooth to play music if you wish. The projector sits on a removable base that’s secured with a strong magnet. This serves two functions. Not only is it easy to remove for storage, but the body can be easily rotated to raise the image up and down. Of course, this will introduce keystone distortion but there is an auto-correction feature that fixes that. Even cooler is the auto-focus control which has its own button on the remote. One press and the GV30 projects a focus target on the screen, adjusts the lens, then prompts you to save or tweak manually. I never needed to override the automatic function; it delivered a sharp image every time. You can dial in geometry and focus in under a minute. The DLP engine runs at 1280×720 resolution though signals up to 1920×1080 can be input. An LED light source is rated for 300 lumens and 20,000 hours of use. That’s over 10 years of service if you watch five hours every single day. The GV30 is compatible with all contemporary sources through an HDMI 1.4 input on the side. A second one hides inside a small chamber where you can install BenQ’s QS01 Android streaming stick. This expands the content choices to the universe of shows and movies available on the internet. Also included is a USB-C input that accepts DisplayPort video. This makes it easy to hook up a laptop, tablet, or phone. You can also plug a thumb drive into this port. Of course, you can cast wirelessly to the QS01 if you wish. It’s compatible with AirPlay and Chromecast. An external power supply is included in the package for indoor use but if you don’t have a power outlet close by, an internal battery runs the GV30 for up to two-and-a-half hours. Actual runtime will depend on which lamp setting you use and how loud you play the audio. The remote is a small handset with all the necessary functions included. It is not backlit. At the top are power toggle, focus, and keystone buttons. Next are direct-access keys for Amazon and input selection. After the nav pad, you get a home key which opens the Android interface. A microphone button activates voice control via Google Assistant. Last is the volume rocker switch.
Setup
Opening the box reveals a premium quality carry bag that cushions the GV30 securely. In addition to the projector and its base, there is an external power supply (also in white) and the QS01 streaming stick. It is installed in a special chamber which hides under the side grill. It plugs into an HDMI port with a small USB cord for power. Once you close it up, there’s no need to remove the grill again. I set the GV30 in its base and leveled it so there would be no keystone distortion. The correction feature works as intended but it will reduce resolution slightly. Once powered up, I pressed the top-center button on the remote for auto-focus. A small target appeared, the lens racked through its entire adjustment range, then settled on perfect focus, all within about five seconds. I found it worked best in the dark. I set up the Android 9.0 interface with some of my go-to services like Amazon and Disney+. Netflix can be used to but it takes a few more steps. You first install the Aptoide app, then install Netflix within it. Streaming quality will of course depend on the speed of your internet connection and wi-fi. The GV30’s menu is a simple affair with just basic picture controls and six picture modes. Cinema is the best one with a D65 color temp, 2.2 gamma, and a slightly widened color gamut. I’ll get into those details in my benchmark tests. There are no calibration options besides brightness, contrast, and sharpness. The picture modes have different color temps, mostly on the cooler side. The bright mode will deliver a little more light, but with a very green tint to the picture. I also checked out the GV30’s DSP-controlled audio modes. You get five choices that are like the sound modes found on many AV receivers. In my theater, Cinema provided the best balance and the widest sound stage.
In Use
Streaming
When the QS01 stick is installed in its hidden chamber, the GV30 automatically loads the Android 9.0 interface on startup, which takes only a few seconds. After exploring the menu system, I watched a few YouTube videos. Quality varies widely which is no surprise, but content from more experienced creators like Hoovies Garage or Global Cycling Network looked very sharp and detailed. The most impressive thing though is the sound. When seated behind the projector, it truly seems to come from the screen. The front sound stage is wide and deep with superb balance. My appetite was whetted for more movie watching. Navigating the Android TV menus is intuitive and efficient. You can add apps for most popular services, and they work the same as their counterparts on Apple TV or LG’s WebOS. The GV30 is a very capable smart TV with the QS01 in operation. I also tried out the iPhone mirroring function. By selecting the Wireless Projection icon, then linking my iPhone 12 as a mirrored device, I got an exact copy of my phone’s screen from the GV30. This is a great way to play video or show photos stored on mobile devices. I also had no trouble enabling AirPlay to rock a few tunes from my phone’s library. The sound filled the room with both Foo Fighters and my classical collection getting equal love. As a Bluetooth speaker, the GV30 excels.
Blu-ray Movies
Though most users will be streaming content, I wanted to play the best possible content on the GV30 as well. I started with Dune, the David Lynch version from 1984. The audio struck me first as the sound was clearly coming from the screen even though the projector was sitting eight feet away from it. I observed that to get the best effect, I had to sit about three feet behind the projector. When I moved to the side or in front of it, the sound became localized. The audio tuning here is significantly better than what I’ve heard from any other projector or television for that matter. Secrets Sponsor The GV30 handled video processing just fine. Though it’s a little softer than a 1080p display, the difference wasn’t as great as I expected. 720p is still hi-def and it is far superior to the 480i available on DVD. The color was nicely saturated and black levels were reasonable; about as good as a budget DLP is going to get. Overall contrast was pleasing in both bright and dark content with strong highlight and shadow detail throughout. Moving on to Minority Report, I wanted to see how the GV30 handled its smeared backgrounds and monochromatic color palette. Here, the slightly warm color temp was an advantage as it brought extra vibrance to what is often a flat-looking film. Soft backgrounds didn’t distract from finely detailed foreground objects and I could clearly see the textures in actors’ faces and in small objects. I finished up my viewing with Star Wars: The Rise of Skywalker. The GV30 did an admirable job with the murky scenes on Exegol. All the detail was visible, even in the most heavily veiled shadows. Motion processing in the more intense action scenes was solid. This is an area where DLP shines because there is no motion blur whatsoever. LCD and LCoS displays always have a bit of smear when objects move quickly across the screen. The lush hues of the Rebels’ jungle hideout were strongly portrayed with deep greens and reds. The GV30’s color is exemplary.
Battery Life
I never thought I’d be commenting on battery life in a projector review but here we go. The GV30 powers up even when the power supply isn’t plugged in. It boots into the LED’s low power mode though you can select Normal if you want a brighter picture. I stuck with low power but turned the volume up all the way to watch Dune. The battery made it just over two hours before signaling defeat which impressed me greatly. I should note that this test is highly subjective. There are many variables that affect battery life. If you use the streaming stick, that consumes power. Turning up the LED obviously will shorten runtime. And the volume level has an effect too. I think it’s reasonable to say that you can expect around two hours of runtime at low LED power whether you’re streaming or playing a disc.
On The Bench
The GV30 has no calibration controls for gamma, grayscale, or color gamut. But in its Cinema mode, it tracks reasonably well to D65, 2.2, and Rec.709. There is some bonus red which is incorporated well so that it doesn’t overblow that color. I measured all the modes and found Cinema was the most accurate. It had natural-looking color, decent contrast, and solid light output. Grayscale tracking shows a bit of warmth in the darkest tones and a slight green tint in brighter areas of the image. Mid-tones are visually perfect with an error right around 3dE. The overall average of 4.82dE is good performance for a projector at this price point. In actual content, these errors are barely noticeable. Gamma tracking is close to 2.2 except for a dip at 10% which means that step is too bright. The GV30 has average contrast for a DLP with well-rendered shadow detail. The color chart shows a Rec.709 target with some bonus saturation in red, magenta, and blue. Inner targets are very close to the mark. That means most picture content, which falls between 20 and 80% brightness, will look very accurate. The brightest elements will show some extra saturation which is a good thing for low output projectors like this. Even though there isn’t a ton of light here, that extra color saturation gives the picture some punch. The average color error of 3.69dE is very good for a projector at this price point.
Light Output and Contrast
For the output tests, I used my usual configuration with a Stewart Filmscreen Luminesse covered with Studiotek 130 material, gain 1.3. The meter was set 10 feet back from the center of the screen. In the Cinema mode, max white was 30.5378 nits, the black level was 0.0689 nit and the contrast ratio was 443.2:1. In the Bright mode, output rises to 45.8702 nits which contrast remains the same. This mode has a very green color temp and is appropriate for areas that have a lot of ambient light. If you have a lot of warm-toned lamps near the screen, the Daytime mode offers similar output to Cinema with a cooler color temp.
Conclusions
For $599, the BENQ GV30 PORTABLE PROJECTOR delivers big-screen entertainment with a solid picture and phenomenal sound from streamed sources or discs. At this price, it’s hard to beat.
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BenQ has delivered a fantastic portable projector in the GV30. With rugged construction, solid picture quality, and amazing sound, it is a very capable entertainment machine that fits in a small carry bag. And that bag is included! The fact that it can also run on batteries is just icing on the cake. With a myriad of ways to get your audio and video content into it, wired or wireless, you won’t need much besides an internet connection to enjoy it. It’s hard to say enough about its sound quality. Though it delivers the excellent video I’ve come to expect from BenQ, it ups the audio quotient considerably. With just 16 watts of total power, its built-in speakers rival any high-end soundbar I’ve heard. And it is significantly better sounding than any other portable projector I’ve experienced. That you can use it as a Bluetooth speaker is a nice bonus. For $599, I can’t fault the GV30 in any way. It delivers exactly what’s needed for convenient portable entertainment whether you want to watch a movie, TV show, or just listen to music. If you’re looking for a portable display for your next adventure, the BenQ GV30 Portable Projector comes Highly Recommended. The post BenQ GV30 Portable Projector Review appeared first on HomeTheaterHifi.com. BenQ GV30 Portable Projector Review published first on https://123movieshub.tumblr.com/ via Tumblr BenQ GV30 Portable Projector Review
Industry-Leading AV Receiver Manufacturer Introduces its Latest High-Performance AVR Boasting Three 8K HDMI Inputs, 7-Channels of Potent Amplification, Height Virtualization Support and Multi-Room Streaming for an Exhilarating Home Entertainment Experience
CARLSBAD, Calif. (October 19, 2021)—Today Denon®, the world’s leading manufacturer of premium home entertainment and personal audio products since 1910, introduced the new 7.2-channel AVR-X1700H high-performance AV Receiver (AVR). It features three 8K HDMI inputs to accommodate the latest 8K sources for advanced gaming and lifelike entertainment experiences. Trusted by the industry’s best professional installers and enthusiasts, the new X-Series AVR also offers the latest immersive 3D surround formats, an advanced 4K and 8K video section and built-in HEOS® multi-room music streaming technology. The AVR-X1700H delivers seven channels of amplification at 80W per channel (8 ohms, 20Hz-20kHz, THD: 0.08%, 2ch driven). Secrets Sponsor “The AVR-X1700H is a great starting point for budding enthusiasts looking for a fully-featured AVR at an accessible price. Complete with multiple 8K HDMI inputs, virtualized surround sound and several other technologies usually found in premium home theater systems, this AVR has it all,” said Trip Randall, president of Denon. “At a time when so many people are considering system upgrades to watch their favorite TV and movies in higher quality, this receiver handily delivers the next-gen experience our customers are demanding.” Immersive Audio for the Ultimate 3D Theater Experience The Denon AVR-X1700H enables an immersive 3D audio experience with support for the latest surround sound formats, including Dolby Atmos®, Dolby Atmos Height Virtualization Technology, DTS:X® and DTS Virtual:X Advanced 8K HDMI Video Section with eARC To ensure the best picture quality possible, the AVR-X1700H features an advanced HDMI section. The six input/one output HDMI board includes three 8K inputs supporting 8K/60Hz and 4K/120Hz video pass-through up to 40Gbps. All HDMI inputs boast 4:4:4 Pure Color sub sampling, HDR10, HDR10+, Dolby Vision, Hybrid Log-Gamma (HLG), Dynamic HDR and BT.2020 pass-through support for exceptional clarity. Enjoy 8K upscaling on all inputs and HDCP 2.3, the latest copy protection standard for effortless playback. The AVR-X1700H is easily connected via eARC (Enhanced Audio Return Channel) to deliver uncompressed and object-based audio from the TV to the receiver via a single HDMI cable. Gamers also have a host of technologies available for a smoother and quicker gaming experience, including: 4K/120Hz pass-through, Variable Refresh Rate (VRR), Quick Frame Transport (QFT), and Auto Low Latency Mode (ALLM). High Resolution Music Streaming & Multi-Room Support The Denon AVR-X1700H is compatible with Apple® AirPlay 2 for iPhone users while the front-panel USB port offers convenient audio playback of other high-resolution audio formats (WAV, FLAC, ALAC and DSD 2.8/5.6 MHz files) from a variety of players. Wireless connectivity to popular streaming music services like Spotify®, Pandora®, Tidal and more are also easily accessed via Bluetooth or HEOS built-in technology. With HEOS Built-in, the AVR-X1700H can stream music wirelessly across compatible HEOS built-in products like Denon Home 150/250/350 wireless speakers from anywhere in the home. Listeners can play the same song in every room or select a different song for each connected room from the HEOS app. Audiophile Heritage & Performance The Denon AVR-X1700H puts sound quality first, with support for high-resolution audio streaming across a variety of formats, including: FLAC, ALAC and WAV files as well as DSD 2.8/5.6MHz. The latest AVR includes a phono input for vinyl enthusiasts to enjoy their collection with exceptional clarity and detail. With dual subwoofer outputs, listeners can easily add multiple subs to achieve optimized low frequency dispersion for movies or music listening. Improve Accuracy with Audyssey Room Correction The AVR-X1700H uses Audyssey MultEQ XT for simple, accurate speaker setup and acoustic calibration of the system so home theater enthusiasts can refine their systems for an optimized listening experience. The technology detects the size, type and configuration of the speakers used and measures their response in the room for optimal performance. It works from a simple 2.1-channel setup to a 5.2.2 Dolby Atmos/DTS:X setup. Listeners can further customize settings to their liking via the advanced Audyssey MultEQ Editor app, available for purchase in iOS and Android stores. Additional Features & Benefits The latest 8K AVR hosts a variety of other benefits, including a “Dual Speaker Presets” feature, enabling users to store and switch instantly between two different speaker configurations and Audyssey settings. “Dialog Enhancer” lets users to adjust the dialog level on the fly, while a newly added HDMI signal information feature allows users to confirm if 8K or 4K120 signals or other HDR formats are passing through the AVR. For optimum accessibility, the AVR-X1700H has a Bluetooth Audio Transmitter, which gives listeners the opportunity to enjoy their favorite content via Bluetooth headphones and can be used either as Bluetooth-only playback, or simultaneous playback with connected speakers. Secrets Sponsor The new AVR also works with Amazon Alexa, Google Assistant, Apple Siri and Josh.ai for voice control of AVR functions. It also supports major third-party command protocols like Control 4 SDDP (Simple Device Discovery Protocol). HDMI diagnostics mode and a smart remote management via Domotz or OvrC are also supported. The AVR-X1700H is $699 and will be available starting November 2021 at authorized Denon retailers. For more information on the latest additions to the Denon X-Series receivers, please visit usa.denon.com/us.
Sound United is a division of DEI Holdings with an award-winning portfolio of audio brands that deliver industry-leading home theatre and personal audio listening experiences for a wide-range of consumers. Each brand provides an expansive array of audio products that includes high-end and custom installation audio, to mid-tier markets that cover loudspeakers, sound bars, AV receivers, wireless multi-room music systems, Bluetooth® speakers, amplifiers, turntables and headphones. Dedicated to artfully reproducing audio for listeners and enthusiasts around the world, Sound United is comprised of Denon®, Marantz®, Polk Audio, Definitive Technology, Polk BOOM, HEOS®, and Boston Acoustics®. Each brand offers a unique approach to bringing home theatre and music to life. Whether it’s through the legendary heritage of Denon, the classic sound of Polk Audio, the premium performance of Definitive Technology, the highly-sought-after amplification of Marantz, the action-inspired form factors of Polk BOOM, the wireless home audio solutions of HEOS, or the accessible performance of Boston Acoustics, Sound United is your sound — so listen. The post DENON INTRODUCES NEW AVR-X1700H 8K AV RECEIVER appeared first on HomeTheaterHifi.com. DENON INTRODUCES NEW AVR-X1700H 8K AV RECEIVER published first on https://123movieshub.tumblr.com/ via Tumblr DENON INTRODUCES NEW AVR-X1700H 8K AV RECEIVER
Classé has a long history of marketing high-end audio products.
I have had several in my list of reference components. Their Delta PRE Preamplifier and STEREO Power Amplifier represent their latest entries. The preamplifier is one of the new types called a digital preamplifier meaning that you can choose to pass an analog input signal through an ADC and DAC to add digital tone controls as well as EQ bands and subwoofer low-pass. I found them to perform in an exemplary manner, with the preamplifier having some of the lowest distortion and noise I have ever seen. This results in a very clean, detailed sound. The on-board DAC has a re-clocking circuit that completely rejects jitter, and the phono preamplifier has both MM and MC capability. The stereo power amplifier is very heavy, and heavy is good. It delivers 250 watts of low distortion power per channel into 8 Ohms. There are inputs for every source known to audio, and the unit I received had the optional four HDMI input, one HDMI output PC card which allows the user to connect all of their HDMI sources with just one HDMI cable connected to a TV.
Highlights
Classé Delta PRE Preamplifier and Delta STEREO Power Amplifier
Introduction
Classé, whose products are made in Japan, is a high-end audio manufacturer that has been around for a long time. I have had several of their products in my reference kit, and still have some of them. The quality has always been very high, and their current offerings, the Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifiers are reviewed here. You can see from the photos below that both items are very attractive with a combination of gray and black. They have displays on the front for volume and menu on the preamplifier and output wattage meters on the power amplifier. The power amplifier has vents on the front that serve a rectangular tunnel inside the chassis with a fan on the rear to pull air through. The output transistors are mounted on the outer surface of the tunnel, and this serves to keep them cool. This is quite unique. The included remote control is styled in the same way and has a plethora of buttons to keep you busy. You can also download an app that will let you use your phone or tablet to control both the preamplifier and power amplifier. To do this, you need to connect the CAN-BUS jack on the rear panel of the two components together (an Ethernet cable works for this) and connect the ETHERNET jack on the preamplifier to your home network. If you need wireless connectivity, use a wireless bridge to convert a wi-fi connection into a LAN connection for the preamp.
CLASSE DELTA PRE STEREO PREAMPLIFIER AND DELTA STEREO POWER AMPLIFIER SPECIFICATIONS
Classé Delta PRE Stereo Preamplifier GAIN:–93 dB – +14 dB
DSP (ADC/DAC) is applied to analog inputs when tone and/or EQ are enabled. No DSP is applied if no tone or EQ is enabled.
INPUT IMPEDANCE:50 kOhms OUTPUT IMPEDANCE:50 Ohms MAXIMUM OUTPUT:9 V RCA, 18 V XLR FREQUENCY RESPONSE:5 Hz – 90 kHz (2 MHz when in Bypass Mode) HARMONIC DISTORTION:0.0015%, 20 Hz – 20 kHz (0.0004% when in Bypass Mode) IM:0.002% (0.001% when in Bypass Mode) SIGNAL-TO-NOISE RATIO:125 dB PHONO:MM and MC (0.5 mV) DAC:32 bit/ 384 kHz Capable Input TONE:0.5 Db Steps EQ:Five bands/channel HEADPHONE OUTPUT:540 mWatts, 5.6 Ohms Output Impedance DIMENSIONS:Width: 17.5” (44.5 cm), Length: 17.5” (44.9 mm) (including connectors), Height: 4.75” (12.1 mm) WEIGHT:29.8 pounds (13.5 kg) MSRP:$9,999.00 USD Classé Delta STEREO Power Amplifier CONTINUOUS POWER OUTPUT PER CHANNEL (0.1% THD+N 1 kHz):12.5W / 8Ω delivered in pure class A operation FREQUENCY RESPONSE:1 Hz – 650 kHz, Minus 3 dB HARMONIC DISTORTION (500 kHz Bandwidth, 25 V):<0.0016% at 1 kHz INPUT IMPEDANCE:82 kOhms INTERMODULATION DISTORTION (IM):<0.0018% DIMENSIONS:Width: 17.50 in (44.4 cm) WEIGHT:102.3 Pounds (46.4 kg) MSRP:$12,999.00 USD Website:Complete Specifications for Preamplifier (click on photo to see larger version) Complete Specifications for Power Amplifier (click on photo to see larger version)
Design
The Classé Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifier are fully balanced, with the preamplifier being a Pure Class A design at all output levels. They are balanced from input to output, and even if you use one of the RCA unbalanced inputs, the signal is converted to balanced for the complete signal path. The power amplifier has 12.5 watts of Class A bias, with the remainder being Class A/B. Twelve watts is in the range of normal listening levels. The internal structure of the preamp has an input buffer followed by a volume control stage that is equally a Class A output stage. Depending on the input selected, the input buffer is replaced by a phono stage or by the DAC if the source is digital. Therefore, a minimal number of stages are in the signal path. Analog input signals that have the tone controls and/or EQ bands added, use a buffer and ADC in the signal path. The driver and output stages in the power amplifier are push-pull with 16 Lateral MOSFET output devices per channel (8 per push-pull leg). The power supply has several hundred thousand µF of capacitance, and that is very important to the dynamic range performance. In the preamplifier, an ASRC (Asynchronous Sampling Rate Converter) upsamples the incoming digital data to either a 44.1k or 48k multiple. Jitter is reduced through the intrinsic workings of the ASRC. However, due to the fact that the digital data may pass through other switches and digital processing, such as Sigma DSPs and delay lines, Classé decided to use a re-clocking circuit right before the data enter the DAC. The DAC consists of eight DAC chips in a quad-balanced configuration in the analog output stages. The rear panel of the preamplifier is shown below. Click on it to see a larger version so you can observe all the inputs and outputs. Everything you might need is there. Here is a closeup of the optional HDMI card that was on my review unit. It has four HDMI inputs that are capable of passing 4K video. There is one HDMI output that you connect to your TV. For me, the inputs go to my cable TV box, a ROKU streamer (for streaming from sources like Netflix, Disney, Hulu, Tubi, Peacock, etc.), a Google Chromecast box (lets me send video on my phone to my TV wirelessly), and my 4K disc player. This simplifies things a great deal since the TV just works with the one HDMI input cable. A future hardware update will let you pass 8K. The DAC is capable of processing up to 32 bit, 384 kHz sampling digital input signals. The phono input is MM and low-voltage MC-capable with picofarad and Ohm settings for the load. MC and loading are rare in preamplifiers. You usually find these only in stand-alone phono preamps. The rear panel of the power amplifier is shown below. You can see that the speaker binding posts are huge. There are two pairs per channel which let you bi-wire if you choose. There is also an Ethernet connector and trigger jack which lets you automatically power on the amplifier. Here are some screenshots of the front panel where the menus are shown (click on it to see a large version). There are some features that I have not touched upon, and you can see them described in the downloadable user’s manual.
In Use
For this review, I utilized a VPI HRX turntable, Sumiko Starling phono cartridge, Otari MX-5050B-III-2 Reel-to-Reel Tape Deck, AURALiC ALTAIR G1 Digital Audio Streamer, OPPO BDP-105 Disc Player, Sennheiser HD 660 Headphones, and Sonus faber Lilium Speakers. Also in use were Clarus Crimson Audio Cables, and a Clarus Concerto Power Conditioner with Crimson Power Cable. Secrets Sponsor Complete List of Reference Components: OPPO BDP-105 Universal Player (4), OPPO UDP-205 Universal Player (2), VPI-HR-X Turntable with Sumiko Starling and Palos Santos MC Cartridges, Otari MX-5050B-III-2 Reel-to-Reel Tape Deck, AURALiC ALTAIR G1 Digital Audio Streamer, Manley Labs Steelhead Tube Phono Preamplifier (2), Balanced Audio Technology VK-5i Pure Class A Triode (Tube) Stereo Preamplifier (2) (Fully Balanced), Balanced Audio Technology VK-500 Solid State Stereo Power Amplifier (Fully Balanced) (250 Watts per Channel), Pass Labs Xs Stereo Preamplifier, Pass Labs XP-20 Stereo Preamplifier, Pass Labs XP-27 Phono Preamplifier, Pass Labs Xs 300 Monoblock Pure Class A Power Amplifiers (2) (300 Watts/each), Parasound JC 1+ Monoblock Power Amplifiers (2), Lamm LL1 Signature Stereo Pure Class A Triode (Tube) Preamplifier, MartinLogan CLX Full-Range Electrostatic Speakers (2), Sonus faber Lilium Speakers (2), Paradigm Reference Signature SUB 2 Subwoofers (2), Custom-Built Computer for Audio Analysis, Accupel HDG-3000 Digital Color Signal Generator (1080i capable), Component Video and DVI Output, ColorFacts Pro Video Test and Calibration Software, Version 6.0, Spyder Sensor, SpectraPlus Audio Analysis Software, Audio Precision SYS-2722 Spectrum Analyzer, Staco 3PN2210B-DVM 22 Ampere Variable Transformer (for adjusting line voltage to 120 volts during amplifier power output tests), Classé SSP-800 Surround Sound Processor, Emotiva XMC-1 Surround Sound Processor, Classé CA-5200 Five-Channel Power Amplifier (200 Watts per Channel), Pass Labs X600.8 Power Amplifiers (4) (600 Watts/Each), Audio Control Phase Coupled Activator (Sub-Harmonic Generator), Carver Platinum Mark IV Ribbon Speakers (2), MartinLogan Summit X Hybrid Electrostatic Speakers (2) (Rear Left/Right), MartinLogan Stage X Hybrid Electrostatic Speakers (3) (Center and Sides Left/Right), MartinLogan Balanced Force 212 Subwoofer, Velodyne DD-18+ Subwoofer (3), HiFiMAN HE1000 Planar Magnetic Headphones, OPPO PM-1 Planar Magnetic Headphones, Sennheiser HD 660S Headphones, OPPO HA-1 Headphone Amplifier, Bryston BUC-1 USB Converter, Sony VPL-HW55ES 1,920 x 1,080p Digital Projector, 90″ (Diagonal) Stewart Grayhawk Projection Screen, Sony 75″ UHD (4K) Flat Panel Display, Clarus Audio Cables, Clarus Concerto Power Conditioner with Crimson Power Cable. Music – Art Pepper meets The Rhythm Section – Vinyl This has become one of my go-to albums for audio component reviews because it is my favorite classical jazz album. I have it in vinyl re-issue, CD, DSD, and streaming. I used the vinyl here. I immediately noticed incredible detail that the Delta components delivered. This is due to distortion being so low. Sometimes there can be too much detail with a component, which usually means there is a bit of noticeable distortion with leading-edge transients. That is not the case with the Deltas. It was just detail, pure and clean. The sound was also very warm, and I thought that perhaps there might be some even-ordered harmonics in the main preamplifier or phono preamplifier, but the bench tests proved otherwise. Music – Alessandro Piccinini Lute Music – Streaming Another good album to test the presence of detail, Mónica Pustilnik plays the lute with a great but tender expression and is hugely musical and entertaining. Here, as with the Art Pepper album, detail was not obscured with edginess but was very clean. The leading edges of the plucking of the strings were crisp but not unpleasant. I continue to be very impressed with the quality of digital music from streaming over the Internet. It certainly seems to be the future of music, vinyl and reel-to-reel resurgence notwithstanding. Music – Norah Jones: Come Away with Me – CD This is one of my wife’s favorite albums, and it is certainly a good one for listening to the human voice. I would like to get it on the reel-to-reel tape version, but it is too expensive for me ($450). Norah sounds great on any source version, and through the Classé Deltas, she sounds magical. Warm, sweet, compelling. I had to get up and fix myself a hot chocolate while this was playing. Too good to just sit and listen. Music – Stan Getz Quintet – Reel-to-Reel Tape – International Phonograph, Inc. – IEC EQ I used the XLR line outputs from my Otari MX-5050B-III-2 deck into XLR inputs on the Delta preamp. This is my first product review where I used Reel-to-Reel (RTR) tape as a music source. It was recorded by International Phonograph, Inc originally and the consumer tapes are made by copying a copy of the original master at 15 IPS. There is no digital intermediate step. Analog all the way. Some tapes are made with digital intermediates, and some are made from digital masters, usually DSD. To me, having digital in the signal path somewhere between the master and the consumer tape negates the reason for listening to tape. If I want digital in there, I will buy a CD or DSD download. Digital adds artifacts that cannot be removed. Even though these artifacts might not be very noticeable, there are there and not acceptable to me as a reel-to-reel enthusiast. Stan Getz may be the most recognized name in classical jazz, regardless of the instrument, which in his case, is tenor sax. Analog tape sounds very different from digital recordings, even vinyl that has been cut from analog tape. It is very warm and rich, with fine detail that seems to be missing from digital music. So, for the low-distortion, low-noise Classé Deltas, tape sounded glorious. Listening with headphones, that fine detail was very apparent. Less so with speakers across the room, but the warmth and intimacy were still there. I plugged my Sennheiser HD 660S headphones into the headphone output jack on the Delta PRE Preamplifier to compare it to the headphone output on the tape deck. They sounded similar. From speakers, Getz’s sax was not quite the same as with headphones, but it still is superior to digital versions. I think that to appreciate what analog tape can really sound like, you do need components with low distortion and noise. The Deltas deliver that. After I wrote my notes on the subjective listening, I performed the bench tests, and I added some Tone Control and EQ. Shown below is the frequency response using no DSP which meant that the signal path was analog from input to output (red line). The frequency response with the tone control enabled, but without any adjustment of tones is shown in green. In this case, the signal goes through an ADC/DAC cycle and is rolled off about 0.2 dB above 10 kHz. Also seen are the frequency response using tone controls to add deep bass response below 60 Hz and attenuate high frequencies above 3 kHz to adjust for when playing an IEC tape using NAB EQ (yellow line). This would be the case for tape decks in the USA which only have NAB. My deck has a switch for both NAB and IEC. Listening to an IEC tape with NAB EQ results in a lack of deep bass and a bit too much high frequencies. This is because the Post-emphasis EQ curve for IEC increases the deep bass and lowers the high frequencies more than is done with the NAB Post-emphasis. This is explained in more detail in my last RTR music tape reviews. I applied a small amount of EQ in between 70 Hz and 80 Hz to lower some resonance that I have experienced with my speakers. I don’t know (yet) if it is due to the speakers sitting on our hardwood floor or perhaps due to their being in corners of the room. The difference in sound that the Tone and EQ that I added masks any difference that the ADC/DAC added on its own, compared to having no ADC/DAC in the signal path. Adding EQ requires addressing the EQ menu and selecting one of the five available EQ bands, selecting a frequency, amount of emphasis or attenuation, and the Q. A high Q will make the tip of the EQ curve sharp, while a lower Q makes the tip flat side-to-side as seen in the 70 Hz EQ trough shown below. You can see the selections for this in one of the menu screen shots shown above, just before the beginning of the In Use section. Music – Narita – Tatsukin Narita, Violin, Yun-Yang Lee, Piano, UltraAnalogue Recordings – NAB EQ This RTR tape has piano and violin. Violin is particularly edgy when there is harmonic distortion in the amplification signal path. The Deltas have very low distortion, so the violin sounded fabulous here, i.e., smooth but detailed. This smoothness can result from having low distortion but also from a rolled off high frequency response. The bench test results in this review show the reason. The five tracks on this tape are “Danse Macabre” by Camille Saint-Saens, “Zigeunerweisen” by Pablo de Sarasate, “Bloch Nigun” by Bloch, “Introduction & Tarantella” by Pablo de Sarasate, and “Meditation” by Jules Massenet, all composed in the late 1800s and early 1900s. Again, the tape was recorded by UltraAnalogue Recordings, and it is a modern recording, not an old tape from the 1950s or 1960s. It is a copy of a copy of the original master tape. The owner of the recording company builds violins as his main business and records various classical musicians himself. He made the bow for the violinist in this recording. I am more of a fan of the piano than the violin, but this paring is certainly wonderful. However, the violin “Meditation” track by Massenet is one of my favorite compositions. Low-level detail is present in this tape as in the IPI tape reviewed above. This detail includes the rustling of clothing. It really adds ambiance that is just not there in digital recordings. This is what I wanted to hear with the Deltas, and it was there.
On The Bench
I bench tested the Delta PRE Preamplifier and Delta STEREO Power Amplifier separately, using XLR inputs where possible, XLR outputs on the preamplifier, and of course, the speaker outputs on the power amplifier. First, the preamplifier. I used the default configuration setting which allows tone control and EQ, and I label it No Bypass, meaning that it is not the Bypass configuration setting that does not have tone or EQ capabilities. Except where indicated, I set the Volume control to 0. At 1 kHz, 1 Volt input, and 1 Volt output, distortion was 0.00058%. One Volt represents 0 dBV, which is shown on the Y-axis. This is extremely low distortion, among the very lowest I have ever measured in a preamplifier. The highest distortion peak was at -115 dBV. The noise floor is at about -138 dBV. With the tone control enabled, but no tone adjustments added, the ADC/DAC circuit was active, shown below. The noise floor was increased to -127 dBV, and the distortion peaks were about 10 dB higher. Peaks above 7 kHz were buried in the noise floor. As shown above, the use of the ADC/DAC in the signal path did increase the distortion, but it was still so low as to be inaudible, or nearly so. Secrets Sponsor Switching to the Bypass configuration, shown below, the spectrum looks exactly like the Default configuration with no tone or EQ enabled. Therefore, you could use the Default configuration with tone and EQ for certain types of music or particular source, and then choose the Bypass configuration from the remote control when you want a pure analog signal path. Below is a test using 2 Volts input and the volume control set to minus 14 dB so that the output was 406 mV which is a typical listening level with the standard 2 Volts output from a CD player. This is within the 12.5 Watts of Class A bias. Distortion is low. Moving on to the 19 kHz, 20 kHz test, shown below, with 1 Volt input, the output drops a bit to 724 mV. The IM peaks on either side of the 19 kHz and 20 kHz peaks are very small. Enabling Tone adds the ADC/DAC, shown below. The peaks on either side of the 19 kHz, 20 kHz peaks are about 8 dB higher, but the peaks out at around 38 kHz and 46 kHz are the same height. The noise floor is about 10 dB higher. For the standard IM (Intermodulation Distortion) test using 60 Hz and 7 kHz sine waves, shown below, IM was 0.00064% with 1 Volt in and 852 mV out. This is extremely low and a superb result. With Tone enabled but no actual tone adjustments made, the noise floor went up as expected, and the measured IM increased to 0.00291% which is still an excellent result. In the Bypass configuration, the result was identical to the Default configuration with no Tone enabled. Let’s look at THD+N vs. Frequency, using 1 Volt in and 1 Volt out, shown below. The red line is the result with no Tone enabled, and the green line is with Tone enabled. With no Tone, distortion stays below 0.001% all the way up to 50 kHz, while with Tone enabled, it is below 0.004% up to 20 kHz. THD+N vs. Output Voltage is shown below, no Tone enabled in red and Tone enabled in green. Distortion is higher at very low voltages due to the noise floor remaining the same, which makes the measurement value higher. It is best at about 2 Volts output. Clipping occurs with the ADC/DAC enabled (Tone enabled) at 5.7 Volts output. The spectrum shown below is the same one I showed in the In Use section. It indicates the effect of Tone and EQ adjustments that I made, which activated the ADC/DAC. This was for the purpose of listening to IEC EQ tapes using a deck that has NAB EQ. However, I would have to put aside my rejection of any digital signal processing in the audio path from the tape mastering to the speakers when using this Tone and EQ configuration. It is an alternative. In the mood: turn it on. In a purist mood, turn it off. Having the choice makes it more palatable. One can save the “Tape with DSP” as a configuration and just select it when desired. A Hum Spectrum is shown below with the test signal (1 kHz sine wave) on. There are no 60 Hz and its harmonics peaks. With the test signal off, shown below, the noise floor dropped below -140 dBV. Superb. Here we begin the tests on the Delta PRE Preamplifier’s DAC. I used the digital coax input. First, 1 kHz at 0 dBFS. 16/44.1 sampling. Output was nearly 4 Volts. Distortion was a low 0.0022%. With 24/192 sampling, the distortion peaks are somewhat higher, but the measured value, which includes the lower noise floor, is 0.0007%. In the figure below, I added 532 psec (picoseconds) of 1 kHz sine jitter to a 10 kHz sine wave test signal. As you can see, there are no jitter peaks at 9 kHz or 11 kHz. This means the Delta PRE Preamplifier’s DAC rejects jitter. I asked Classé if the DAC uses a re-clocking circuit, and they said yes. What this means is that with the USB digital input from a computer, which normally has a lot of jitter, that jitter will be removed. The same thing occurs with 24/192 sampling, shown below. So, the Delta PRE Preamplfier’s DAC is really excellent. Definitely Audiophile-Grade. Here is the DAC’s linearity test. At 16/44.1 sampling, it is linear to -97 dBFS, while at 24/192 sampling, it is linear to -114 dBFS. Here is the Frequency Response, shown at 16/44.1, 24/96, and 24/192 sampling, -5 dBFS input, 2.31 Volts output. In all cases, the response begins to drop off at 5 kHz and is down 0.2 dB at 20 kHz. At 50 kHz, the response is down 0.9 dB. The smoothness in sound quality that I mentioned in the In Use section is a result of low distortion rather than a rolled off high frequency response since being down only 0.2 dB at 20 kHz would not be enough to smooth out the sound. Back to analog signals, here is the phono preamplifier performance. First, the Frequency Response using the MM input with a 200 pF (pico-Farads) load. The response is within 0.3 dBr from 20 Hz to 50 kHz. Below is shown the spectrum with a compressed Y-axis, and the response with (flat line) and without (curved line) Pre-Emphasis RIAA curve applied. You can see that the Post-Emphasis curve which the Delta PRE Preamplifier applies is exactly as it should be, 20 dB increased at 20 Hz, and 20 dB attenuated at 20 kHz. Using the MC input configuration with a 330 Ohms load, the response is again within 0.3 dB out to 50 kHz. Notice that the response is higher in the midrange than at either end. This is what gives the warm vinyl sound that I heard. OK, let’s go to the Delta STEREO Power amplifier, and start with 1 kHz and 2 Volts output. Distortion was 0.0056%. Increasing the output to 20 Volts, THD+N was still very low, at 0.0009%. This is at 8 Ohms load (50 Watts). Some of the lowest I have ever tested. Combine this with the low distortion of the Delta PRE Preamplifier, and you get superb detail and clarity, which is exactly what I heard in the listening tests. With a 4 Ohms load, 2 Volts output yielded 0.006% THD+N. And at 20 Volts output with the 4 Ohms load, 0.0015% THD+N. Very low. The 19 kHz, 20 kHz test also yielded excellent results, first at 2 Volts output into 8 Ohms … and at 20 Volts output into 8 Ohms. There are only four side peaks on either side of the 19 kHz and 20 kHz test signal peaks. Using a 4 Ohms load and 2 Volts output, side peaks are few. At 20 Volts output into 4 Ohms, side peaks increased to seven. Here is the standard IM test at 2 Volts output into 8 Ohms. IM was 0.0023%. Excellent. At 20.5 Volts output into 8 Ohms, there are more peaks, but the total measurement is lower, at 0.0011%. This is because the measurement is logarithmic, meaning the IM peaks at -90 dBV are less, compared to the dBV Voltage at 20.5 Volts than the peaks at 2 Volts output. With a 4 Ohms load and 2 Volts output, shown below, IM was 0.0034%, a bit higher than at an 8 Ohms load. And at 20.5 Volts output into 4 Ohms, IM was 0.0015%. Here is an oscilloscope view of a 20 kHz waveform, using dBr instead of Voltage. The red spectrum is at 29 Volts output (105 Watts) and the green spectrum is at 43.47 Volts (236 Watts), both into 8 Ohms. You can see that the waveforms are very smooth, and the 236 Watts spectrum is near the rated output. The curves represent both the positive and negative voltage swings in dBr next to one another. Here is the spectrum for a 4 Volts load. The yellow line is with 20.23 Volts output (102 Watts), the red line at 30.39 Volts output (231 Watts), and the green line at 34.73 Volts output (302 Watts). Again, they are very smooth. Expanding the X-axis, you can see how smooth they really are. Shown below is THD+N vs. Frequency at 8 Ohms load, 2 Volts, and 20 Volts output. At 2 Volts output, it stays below 0.006% all the way out to 50 kHz, and at 20 Volts output, it is low at low frequencies, and at 20 kHz, it is only 0.024%. With a 4 Ohms load, distortion stays below 0.007%, and at 20 Volts output, it reaches a maximum of 0.054% at 20 kHz. These are really nice results. Very impressive. THD+N vs. Power (Watts) Output shows that it meets specifications, with 250 Watts into 8 Ohms regardless of the bandwidth. At 4 Ohms load, the output is 430 Watts at the specification of 0.1% THD+N. This is lower than spec, but that is due to the wall AC voltage dropping. If the wall voltage is maintained (120 Volts), the specified output will be reached. Here is the Frequency Response with 2 Volts and 20 Volts output into 8 Ohms load. It is pretty flat out to 200 kHz, with the roll-off beginning at about 38 kHz. At 4 Ohms, the roll-off begins at about 24 kHz but is still very flat out to 200 kHz.
Conclusions
The Classé Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifier are superb. They are two of the best preamps and power amps I have ever tested. I don’t know what else to say except that I hate to see them go. Never ran out of power, never ran out of pleasure listening to them.
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The post Classé Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifier Review appeared first on HomeTheaterHifi.com. Classé Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifier Review published first on https://123movieshub.tumblr.com/ via Tumblr Classé Delta PRE Stereo Preamplifier and Delta STEREO Power Amplifier Review
How much difference can a headphone amp make to your listening?
Should it be the proverbial ‘straight wire with gain’, or should it shape the sound and add something positive to it? Those were the questions I had when I encountered the Wells Audio Dragon headphone amp. It’s a large device – a hybrid solid-state and tube amp with a large transformer. Secrets Sponsor Secrets Sponsor I listened to pure analog music and a lot of high-resolution digital recordings to see how it fared and compared it to other tube and solid-state headphone amps. My conclusions are in my upcoming Dragon review here at Secrets of Home Theater and High Fidelity. The post Wells Audio Dragon Headphone Amp Preview appeared first on HomeTheaterHifi.com. Wells Audio Dragon Headphone Amp Preview published first on https://123movieshub.tumblr.com/ via Tumblr Wells Audio Dragon Headphone Amp Preview
HIFIMAN has had a few different HE400 model headphones in their lineup for quite some time now.
Each has been at a slightly different price point but not higher than $499.00 placing the 400 series at the more approachable end of the scale. The HE400se we have in for review retails for $149.00 which makes it HIFIMAN’s most affordable headphone to date. And for that very reasonable price, it seems to have a whole lot going for it. Secrets Sponsor Secrets Sponsor I know I’ve brought this up a few times in the past, but it still just amazes me how far planar magnetic headphone technology has come and how affordable it is to sample these days. Just a few short years ago $300.00 – $500.00 was considered the entry-level for a pair of planar magnetic cans and we all thought, at the time, that was a very affordable entry point. And yet here we are today, looking at a pair of planar magnetic headphones for $149.00! It’s really kind of astonishing when you think about it. The first question that someone will likely ask is “Well, are these $150-dollar HE400se any good? I mean what can you expect to get for that kind of price?” I’m here to tell you, quite a lot! Two things that HIFIMAN is known for are constantly updating their products with new features and design improvements and then eventually trickling down much of their higher-level tech to the more affordable models. If you are interested in a very affordable pair of audiophile headphones, then I suggest you keep an eye on the Secrets website where my full review of the HIFIMAN HE400se headphones will soon publish. The post HIFIMAN HE400se Planar Magnetic Headphone Preview appeared first on HomeTheaterHifi.com. HIFIMAN HE400se Planar Magnetic Headphone Preview published first on https://123movieshub.tumblr.com/ via Tumblr HIFIMAN HE400se Planar Magnetic Headphone Preview
Bowers & Wilkins re-imagines the Zeppelin for the streaming age
First introduced in 2007 as the ultimate iPod dock, the Zeppelin is reborn in 2021 better-sounding, better-looking and smarter than ever. Distinctive, innovative design Engineered for performance Secrets Sponsor The new Zeppelin’s two Decoupled Double-Dome tweeters – originally featured in the award-winning 600 Anniversary Series – are mounted at the far edges of the enclosure and are fully isolated from vibrations running through the cabinet generated by other, larger drive units. This ensures a wide, spacious and highly accurate sound. The tweeters are paired with 90mm midrange drivers using Bowers & Wilkins proprietary Fixed Suspension Transducer (FSTTM) technology – found in all the company’s premium floor-standing speakers, including the reference 800 Series Diamond, the monitor speaker of choice for Abbey Road Studios. Finally, a new 150mm subwoofer is on hand to add deep, detailed and refined bass to the open, high-resolution sound of the combined system. Mounted centrally at the heart of the Zeppelin’s structure, its design is carefully optimised to avoid unwanted ‘rocking’ of the cabinet as it operates, resulting in a cleaner-sounding and more agile bass delivery. Every generation of Zeppelin has been the best-sounding system of its era. The new Zeppelin, by combining proven drive unit technology with its new high-resolution streaming platform, is simply the best yet. The overall result is an exceptional musical performance whether from a wirelessly connected source or via a streaming service. Secrets Sponsor The Music You Love, Instantly Connected, Smart, Intuitive Finally, the new Zeppelin has been engineered to last. Its powerful digital ‘brain’ can be upgraded over time, with multi-room capability planned for introduction in early 2022. That will make the Zeppelin compatible with both other new Zeppelins in a multiroom environment or, if you prefer, a multiroom system based on Bowers & Wilkins own Formation range of high-resolution wireless speakers. The Beauty of Sound The Zeppelin is available from October 13, 2021 in Midnight Grey or Pearl Grey from $799.00 USD.
The post Introducing the all-new Zeppelin The Beauty of Sound appeared first on HomeTheaterHifi.com. Introducing the all-new Zeppelin The Beauty of Sound published first on https://123movieshub.tumblr.com/ via Tumblr Introducing the all-new Zeppelin The Beauty of Sound No artificial colouring: Q Acoustics new Concept loudspeaker range delivers purity of sound10/15/2021 October 8th 2021, UK – Leading audio specialist Q Acoustics introduces the newest models of its award-winning series of Concept stereo and home cinema loudspeakers: Concept 30 standmount, Concept 50 floorstander and Concept 90 centre channel. Taking cutting-edge acoustic technology and design cues pioneered in the flagship Concept 300 and 500, while also introducing new state-of-the art audio innovations, these new models deliver truly high-end home audio performance without the high-end price tag. Every element of acoustic innovation featured in the latest Concept range is geared towards designing the quietest cabinet possible. Unaffected by internal and external resonances, these speakers deliver focused stereo imaging, accurate audio and an extended holographic soundstage to emulate a live performance in the home. Concept range audio innovations include:
New audio innovations on the Concept 30, 50 and 90 include:
No artificial colouring To keep the cabinet as rigid as possible, Point-2-Point A variation on the hugely effective ‘isolation base’ principle first seen on Concept 300 means all three of the new Concept models have a suspension system in the form of a sprung baseplate. Two plates are separated by suspension ‘spheres’ that effectively isolates the cabinet from interference from external vibrations, providing tighter stereo imaging, while also bringing greater depth. Tall floorstanding speakers are prone to internal build-up of pressure that cause unwanted standing waves and reverberations. To prevent this occurring, specially designed Helmholtz Pressure Equalisers (HPE All these anti-resonance innovations allow the state-of-the-art complement of drivers free to get on with the job of delivering the most realistic, most involving sound ever heard at this price-point. Controlled power Elsewhere, the tweeter is hermetically sealed and mechanically isolated (floating) from the baffle, which means lower distortion and a lower crossover point for seamless integration through the crossover region. At 30.5mm, the larger mid/bass driver voice coil increases motor strength resulting in a 50% increase in power handling over a comparable driver with 25.4 mm voice coil. Secrets Sponsor Lastly, the crossover itself is mounted to the isolation base, keeping it free of sound-effecting vibrations and away from the electro-magnetic influence of the drivers themselves. Elegant design Secrets Sponsor Home Cinema Q Acoustics Concept 30 is priced $1,299 and is available from www.qacoustics.com (US) and local independent dealers end of November. Q Acoustics WB75 wall bracket (single) arrives in a white or black finish, priced $89 and is available from www.qacoustics.com (US) and local independent dealers end of November. Technical specifications
Q Acoustics’ unique approach is clear in the ground-breaking engineering and ingenious construction of its products – and the result is the most life-like, thrillingly realistic sound your money can buy, no matter the amount you want to spend. Numerous awards from the world’s leading critics simply confirm what every Q Acoustics owner already knows: Q Acoustics builds the most innovative, high-performance loudspeakers you can buy. The post No artificial colouring: Q Acoustics’ new Concept loudspeaker range delivers purity of sound appeared first on HomeTheaterHifi.com. No artificial colouring: Q Acoustics’ new Concept loudspeaker range delivers purity of sound published first on https://123movieshub.tumblr.com/ via Tumblr No artificial colouring: Q Acoustics’ new Concept loudspeaker range delivers purity of sound ![]()
My Morning Jacket
Live 2015
ATO Records
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Pressings:
I caught My Morning Jacket’s show at the Greek Theater in Berkeley a couple of weeks back despite my fear of illness and disease, and it might have been the best thing that’s happened to me in two years. I knew I missed Rock ’n Roll shows, but I guess I didn’t realize how much. Durand Jones and the Indications opened, and they were a ton of fun. Everyone agreed. Then, MMJ took the stage, and everything prior to that was summarily forgotten. They didn’t play more than a couple of my favorite songs, and it was still one of the best shows I’ve seen. Or maybe it’s recency bias. Anyway, I was healed. They sold $60 autographed copies of their recently released three-record set, Live 2015, but I just ordered a standard set online when I got home for about half that amount. I’m glad I did, but it’s not a slam dunk. Mostly, it’s a reminder of how much fun one can have when that band is nearby. This is the group’s first official full-length live set since Evil Urges, Circuital, and The Waterfall were released. So we get our hands on live runs through some of their strongest offerings from those works, including “Evil Urges,” “Victory Dance,” “Tropics,” and “Compound Fracture.” And also a rendering of “Believe (Nobody Knows),” which could have been replaced by any number of stronger show tunes. One might also quibble with the inclusion of the five repeat songs found on Okonokos from 2006. But I don’t mind the repeats. This lineup was still in its infancy when Okonokos was recorded, and while that set is relentlessly fun and often great, the performances in 2015 show remarkable growth and an almost telepathic synergy amongst the musicians who have been together for the better part of 16 years now. Maybe more. They’ve had plenty of time to get their act together, that’s all I’m saying. The groove that was added to the intro for “Off the Record” on Okonokos is even groovier in 2015, with dueling guitars popping off like Roman candles before that acclaimed spy-thriller riff kicks in. “Dondante” builds to an even greater climax, and the release is even more cathartic than in 2006. Which makes sense as the band stepped into a loop of perpetual growth and exploration long ago. According to what I saw at the Greek show a couple of weeks ago, the version of “I’m Amazed” from 2015 is outdated in 2021 as the band has worked up an even more dynamic version for us all to freak out about. Unfortunately, the version of 2015 sounds like it was recorded in a cavernous arena. We don’t know if it actually was or not because there’s no way of knowing where each song was recorded, only that this is a compilation of performances from a tour in… 2015. I caught a three-night run at the Masonic in San Francisco, and it was one of the more impressive demonstrations of power I’ve seen by any band ever. I’d like to know if any of those performances made it onto the set, but whatever. I enjoy a good mystery too. Let the good vibes roll. This appears to be the first installment in a proposed series of live MMJ releases… So we can freak out about that too. Online commenters are besotted with the quality of this pressing, but I’m not. Mine’s a bit noisy in spots, and I can hear it even over all the rocking out. Nothing repeatable or egregious, just a generally dirty noise floor (despite having been through the Degritter). I suspect that 2015 was pressed at G.Z.’s Canadian facility based on the info in the dead wax and the “Made In Canada” info printed in the gatefold. This hasn’t been confirmed, and I could be wrong. Regardless, I’m hoping that one of the more reputable plants gets a shot at the next set. Here’s to hope! And if you can safely get out and enjoy some live music, I think it’s an excellent prescription for what ails you. Godspeed. ![]()
Calling Cadence
Calling Cadence
hi-res records
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Man, I don’t understand Los Angeles. I’ve been in San Francisco for 16 years, and all I do when I go down to L.A. is stand around wondering if I’m actually in L.A. “Does this count as L.A.?” “Are we in L.A. now?” And so on. I know there’s lots happening down there, but it’s always felt like a giant speak-easy to me. And I never really put much effort into finding the password. I mean, there’s always been a million great L.A. bands clawing their collective way to recognition in order to make a decent living, and maybe even Hit It Big, right? But recently, I was turned on to one that actually has a chance. We connected via one of my most trusted allies in the vinyl industry. Someone responsible for some of the best records I’ve heard, but who kinda flies under the radar and seems to like it that way. So I won’t out them here. But they did me a favor with this referral. Again. Oscar Bugarin and Rae Cole are the principal players in Calling Cadence. The band’s site advises that they’re backed by a “wrecking crew of musicians that create the foundation of the Los Angeles music scene” on their self-titled debut, which seems like a lofty assignation. Using the words “wrecking crew” consecutively and with regards to an L.A. music collective is ballsy. But they weren’t lying. I mean, the drummer (Josh Adams) played on one of my recent personal faves, Gold Past Life by Fruit Bats, but Beck and Norah Jones probably get his resume more attention. The bassist (Elijah Thompson) has worked with Father John Misty, and the band’s keyboardist (Mitchell Yoshida) has credits for recording with Edward Sharpe and the Magnetic Zeros. That ain’t nothing. And it ain’t for nothing either. Bugarin and Cole have chops of their own. Bugarin seems to be the lead songwriter, and he’s fearless in that role. He wears his emotions on his denim sleeve, and his acoustic guitar work provides strong roots that allow his earthy voice and the other players to flourish above ground. Rae Cole’s vocals are worth falling for over and over. I couldn’t immediately place the influence I detected when I first heard her lead turn on “California Bartender,” one of the highlights on Calling Cadence, but I eventually landed on Bonnie Rait. The song drips with a sultry sort of luminescence that sticks in your ears after first listen. There are exactly zero electric guitars on Calling Cadence, but the songs aren’t lacking for dynamics or variety. Yoshida gets outright space-aged at times, even on a gritty grinder like the lead song and single, “Throw My Body.” “Good Day” is a groover with some underwater Bootsy-inflected funk from Thompson. The band casts a large net and has clearly soaked up inspiration from a disparate cross-section of some all-timers while forging their own sound that could sit comfortably next to Chris Stapleton (“Took a Chance”) or… Michael frigging Jackson (“This Time”). There’s Memphis Soul, and A.M. Gold in them hills too. A veritable smorgasbord of sonic exploration and goodness. Whatever you want. These folks are clearly going for it. They’re not doing this “just for fun.” To wit, they provided the following info on their site: “The debut album for Calling Cadence is a truly authentic full-analog recording… Recorded on 2” magnetic tape through a Studer A827 tape machine, mixed analog through a 1972 API console, a collection of outboard gear and effects, and mixed down to ¼” magnetic tape on an Ampex ATR 102 tape machine. The ¼” reels were then taken to acclaimed mastering engineer, Kevin Gray, who cut the lacquer from the original master tape. For the ultimate experience of this music, pick up the vinyl.” I recommend you do the same. There’s something here for everyone, even my curmudgeonly ass. The single disc was pressed at RTI, one of my favorite facilities, but one that has been a bit inconsistent of late, in my opinion. Calling Cadence got some of their better work. The noise floor is mostly clean, and there are no repeatable distractions to take you out of the moment. The soundstage is both deep and wide with plenty of space for the notes to spread out and breathe. The release is available for pre-order from Elusive Disc now. But don’t be surprised if Calling Cadence finds you before you find them. Even L.A. might not be big enough to hold them… ![]()
Jerry Joseph
The Beautiful Madness
Cosmo Sex School
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I found Jerry Joseph, like a lot of his fans likely did, through his affiliation with Widespread Panic. They’ve been covering his songs for years now, and they’re always setlist highlights for Spreadheads. He’s described them as having been “very generous with their success,” which is a perfect summation. (The man’s a gifted lyricist, what should we expect?) They bring him out to sit in, they record his tunes, they collaborate on originals, and have generally championed him all along. But they wouldn’t have if he didn’t bring the goods. Now, there’s another band straight out of Athens singing his praises too. According to Patterson Hood’s liner notes, Widespread’s bassist turned the Drive-By Trucker on to Joseph’s magic way back in 1992. That, God help me, is the year I graduated from high school, and it seems like several lifetimes ago. Flash forward to 2020 (God help me and everyone else), and Joseph’s The Beautiful Madness was released with the bulk of the Truckers as Joseph’s backing band along with the odd straggler too. So I’d have had to get it regardless in order to maintain my complete Vinyl Truckers Collection. But Joseph is the rightful star of this show, and the album is easily my favorite of his recorded works that I’ve heard. So far. It took me multiple tries to get through the entire work. Not because it’s overly long or a challenge to absorb. It’s easily digestible and of a reasonable length. But I have a hard time listening to The Beautiful Madness all the way through without picking up my guitar and playing some songs of my own. There’s an honesty and a vulnerability in these songs that inspires me to try to reach for a similar quality in my playing. It ain’t easy. I can’t get there yet. I’m too closed off and protective of myself. Joseph bleeds and cries in front of us all. He ain’t getting his teeth whitened or shaving the hair off his shoulders. He’s out there, man. Take it or leave it. Some highlights for this writer include, but are not limited to, the propulsive and moody “San Acacia,” wherein Joseph doesn’t so much implore as demand the listener to “take me as I am.” (See above.) “Good” is a groover with sneaky deep lyrics addressing “some of the darker headlines of our day to day existence,” per Hood’s essay in the liners. Hood’s bandmate, Sweet Baby Jay Gonzalez, provides some tasty synth work on this one that feels like a tablespoon of fizzy candy in your steel-cut oats. And, speaking of cereal, “Sugar Smacks,” ironically, involves no such sweetness. Here, Joseph references all of them marching in the streets that America witnessed while the previous administration smirked and kept shooting. Finally, “Dead Confederate” grapples with some of the Southern dualities that Hood’s band was fighting with back at the turn of this century. The more things change… So if you’re looking for a new(ish) record that gives you the medicine you need with the sounds you want, The Beautiful Madness is for you. The production is sparse and clear but never too clean. I’d love to give some facility credit for the brilliant pressing quality, but I don’t know who to thank. My two (yellow) discs are damn near flawless. Just like the performances and the songwriting. Even comes with a download code so you can spread the word. Not that Joseph needs the help. But the rest of us might. The post A Collection of New Vinyl for the Audiophile: October 2021 appeared first on HomeTheaterHifi.com. A Collection of New Vinyl for the Audiophile: October 2021 published first on https://123movieshub.tumblr.com/ via Tumblr A Collection of New Vinyl for the Audiophile: October 2021
grell True Wireless Headphones Make High-Quality, Personalized Listening Experiences Accessible, Nurturing a New Generation of Digital-Age Audiophiles
Hannover, Germany, October 6, 2021 — grell, founded by renowned German headphone engineer Axel Grell, announces the debut of a brand-new line of true wireless headphones with the grell TWS-1 ($199.99 USD). The new in-ear headphones deliver audiophile-grade sound quality for consumers who crave crystal clear, transparent audio and a closer connection to their music, with a direct-to-consumer sales model designed to deliver a personalized, high-end listening experience to a new generation of users — so that the price reflects the grell-designed sound-quality, alone. An exclusive version of the grell True Wireless headphones — the drop + grell tws.01 — will be available via Drop.com, in November following an initial pre-sale period on www.grellaudio.com. Featuring an all-black finish, distinguished from the space-grey TWS-1 version — which will be available following the international product launch — US customers who purchase the drop + grell tws.01 version will also receive additional blue wingtip options for an even more personalized and secure listening experience. grell in-ear headphones mark a pioneering step forward in the realm of high-end listening devices, providing a unique combination of high-quality technological components, German design, and meticulous attention to detail. The result is a stunning sound-signature created expressly for a new generation of digitally connected listeners. Secrets Sponsor For over three decades, Axel Grell has crafted headphones designed to produce world-class sound — at times, with little-to-no regard for price consideration. Throughout his mission to enhance the clarity and transparency in the headphone lines he produced, Grell garnered a devoted following among members of the audiophile community for his close attention to detail throughout all parts of the manufacturing process, pairing high-quality components with cutting-edge product designs — until the 1990s, when his uncompromising pursuit to design the most neutral headphones possible catapulted him to legendary status among audiophile communities. “I always try to create the best possible acoustical experience for the money, no matter the price point,” said grell Founder, Axel Grell. “With grell, we put our resources solely into achieving the best sound possible, emphasizing the acoustic experience of the product and providing audio that is fine-tuned to the user’s ear. With our focus on audio, alone, we carefully selected custom dynamic transducers, used the best chipset that is available, and the best sounding codecs, shipped directly to the consumer in simple, inexpensive packaging. And this is true for every pair of grell earphones — giving the user high-end quality, but not at a high-end price.” Making audiophile accessible Axel Grell continues his quest to make the world sound better through his bold, new product designs. The new grell true wireless headphones are a direct response to a growing new generation of audiophiles in the digital era who are looking to experience the ultimate transparency and clarity that headphones can offer — in a smaller in-ear form factor. Secrets Sponsor Featuring TWS-1 technology, custom 10mm dynamic drivers, 28-hour battery life (ANC on), and transducers with a tolerance of +/- 1 dB, Active Noise Cancellation (ANC) — plus, Axel Grell Noise Annoyance Reduction (NAR) technology — grell true wireless headphones boast minimalistic, industrial-style design, which contrasts the complexity and richness of the acoustic output, without sacrificing a comfortable fit. Unlike any of the designer’s earlier endeavors, however, grell seeks with its business model to lower the cost for the end-user, ushering in the future of high-res audio through a sales model tailored toward the spending habits of digital age listeners looking for opportunities to save money on high-end products without sacrificing quality for price. Sold directly through the company’s website and through an exclusive pre-order release on Drop.com, grell’s online-only sales model seeks to remove some of the economic barrier-to-entry for budding audiophiles, and to nurture the next generation of sound for tomorrow’s listener. Key Features:
The post SOUND IN THE MAKING: grell True Wireless Headphones by World-Renowned Sound Engineer & Headphone Designer Axel Grell appeared first on HomeTheaterHifi.com. SOUND IN THE MAKING: grell True Wireless Headphones by World-Renowned Sound Engineer & Headphone Designer Axel Grell published first on https://123movieshub.tumblr.com/ via Tumblr SOUND IN THE MAKING: grell True Wireless Headphones by World-Renowned Sound Engineer & Headphone Designer Axel Grell |