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Focal Stella Utopia EM Evo Loudspeaker

Posted on by Andre Jennings

Focal calls its second-from-the-top Stella Utopia EM Evo ($149,998 pair) a technological twin sister to its topmost Grande Utopia EM Evo due to its implementation of comparable options. The Stella shares the Grande’s high-efficiency field-coil or electro-magnetic (EM) woofer, TMD (Tuned Mass Damper) driver suspension, NIC (Neutral Inductance Circuit), MRR (Machined Reinforced Rings), “W” sandwich composite cone materials, Power Flower magnet construction, Focus Time driver alignment, and OPC+ filtering, multi-adjustment sound-personalization in a three-way design with extra svelte dimensions than the bigger four-way Grande.

Being a 3 manner, the Stella has crossovers at 230Hz and a couple of.2kHz. The speaker has a single 13″ electro-magnetic woofer, a 1″ beryllium inverted-dome tweeter, and twin 6.5″ midrange drivers. The midrange and tweeter are in a bodily midrange-tweeter-midrange (MTM) association, sitting above the EM woofer’s enclosure.

The Stella has visually enticing curved surfaces on all 4 sides. Each driver is mounted in its personal optimized semi-separate chamber, organized in what Focal calls Focus Time—a mechanical system that aligns the section between drivers on the listening place. This is achieved with the woofer module having an ever-so-gentle backwards tilt, with the decrease midrange module close to parallel, the tweeter module barely tilted downward, and the upper-midrange module tilted a bit extra downward. The ensuing look provides the modules the looks of being gracefully curved, like a backbone. When correctly arrange, the Stella’s module alignment higher time-aligns the drivers’ outputs on the listening place.

Internally, the Stella’s cupboard is made from medium-density fiberboard (MDF) as much as 2″ thick in key areas and closely braced internally. Focal believes the MDF materials has inherent benefits for loudspeaker development, together with stability and resistance to vibration. The entrance baffle incorporates Focal’s MRRs across the drivers for elevated power. Additional gadgets contained in the Stella embrace: extra acoustic wadding for bass management; precision, 20%-thicker inner wiring to restrict present losses; and premium crossover elements.

The Stella Utopia’s base is a thick laminar materials with everlasting, low-profile, built-in wheels on the underside and 4 threaded holes within the corners to simply accept Focal’s three-piece (threaded screw, higher cone, and decrease cone), customized, decoupling spike meeting, along with a magnetically attracted counter-spike (spike cup) to guard tile and wooden flooring. On the rear of the Stella’s base is a DC energy connection for the EM woofer’s exterior energy provide. There are WBT bi-wire/bi-amp speaker connections for the principle (midrange and tweeter) and bass (woofer) speaker sections. (Focal provides customized metallic jumpers for single-wired use, once you’re not bi-wiring or bi-amping the audio system.) The upper-front portion of the Stella’s base is a large, flared outlet for the bass module’s reflex port. This port is claimed so as to add no distortion or noise from air circulation, in addition to no dynamic compression of the woofer, which is built-in instantly above the speaker’s base. (The woofer module has a gap on the underside that mates with the formed, front-ported outlet of the speaker’s base.)

The 13″ EM woofer occupies the higher entrance of the bass module. The EM woofer’s cone is made from the identical third-generation “W” composite materials described within the midrange module part under however optimized for the bass-frequency vary. Unlike most drivers accessible at present utilizing everlasting magnets constituted of numerous supplies, Focal has chosen an electromagnet. This is a metallic core fashioned right into a magnet by an exterior energy supply used to cross electrical present by the field-coil surrounding the core. This design selection permits Focal to keep up an optimum steadiness of effectivity and low-frequency output extension. The EM woofer is round in diameter (clearly seen with the grille cowl eliminated). With the grille cowl on, the woofer appears to have a vertical oval form, which provides to the svelte slender look of the Stella—a pleasant design contact.

The two midrange modules (instantly above the woofer module on the high of the speaker) look an identical. The 6.5″ midrange is centered within the module, according to the tweeter and woofer. The cone is made from Focal’s third-generation “W” composite materials: selective fine-weaved, long-strand, glass-fiber tissue above and under a driver-specific-thick, structured, resin-foam core. The motor system consists of Focal’s Power Flower motor (a sequence of double-stacked ferrite rings in a round array surrounding the voice coil) that helps higher magnetic vitality and vented cooling of the voice coil that’s proportional to the quantity of motion throughout operation: the extra cone motion, the extra venting and thus the extra cooling. The midrange additionally incorporates Focal’s mechanical Neutral Inductance Circuit (NIC). This NIC Faraday ring is used to optimize the magnetic area across the voice coil, rising efficiency by delivering higher readability, dynamics, and definition. Finally, the midrange driver has the Tuned Mass Damper (TMD), born from the usage of finite factor evaluation to selectively tune the motive force’s encompass suspension and get rid of undesirable resonances, leading to extra linear cone motion, particularly within the 1kHz-to-4kHz vary.

The tweeter module, sandwiched between the 2 midrange modules, incorporates the inverted, pure beryllium dome tweeter, vertically according to the opposite drivers. Unlike the detachable fabric grille covers of the opposite drivers, the 1″ tweeter has a everlasting metallic grille cowl defending the tweeter. The driver’s operational bandwidth is 1kHz to 40kHz. The Infinite Acoustic Loading (IAL2) of the tweeter has a low resonance frequency that’s practically two full octaves under the in-system crossover frequency of two.2kHz.

Unlike a number of the giant high-performance audio system that ship in a number of smaller instances, the Stellas come totally assembled. That’s the upside. The draw back is {that a} forklift is required for supply. Each totally assembled Stella speaker is shipped in a really giant wood crate weighing practically 600 kilos. The crate is provisioned for forklift motion alongside the lengthy facet of the construction. The courier delivered the crates to my storage by way of forklift, the place they sat for a few days till the piano movers might take away the audio system from the crates and convey them into my listening room. The Stella lays flat on its again within the crate throughout delivery and is protected on all sides internally with very robust closed-cell foam helps lower exactly for the speaker’s outlines. The piano movers set the crates vertically as directed within the unpacking directions and rolled every speaker out of its crate. The 374-pound Stella had protecting padding across the decrease base and a fabric “gown” masking the complete speaker. Once the movers acquired the audio system into the home, we rolled them into preliminary positions and put in the three-piece decoupling spikes and counter-spike cups. The subsequent steps have been to take away the “gown” and padding on the bottom to disclose an attractive Ash Grey-colored speaker. Final steps concerned unpacking the EM-woofer energy provide for every speaker and making the AC-inlet connection, adopted by the EM-power-supply-to-EM woofer DC energy connection. I wired up the speaker terminals in a bi-wire configuration and turned the EM energy provide on by pushing the ability button on its high. The Stellas have been able to play music.

Before I say extra about setup, it’s value mentioning that purchasers of the Stella Utopia EM Evo will more than likely have all these steps of supply and setup carried out by their vendor or consultant. If the proprietor is curious in regards to the steps in setup, the Stella unpacking information and consumer handbook has helpful fundamental directions for getting the audio system arrange and taking part in satisfactorily. Some of the data consists of advising how placement within the room impacts bass, recommended places to make use of and keep away from, the right way to join the audio system and EM module, the right way to set up decoupling spikes, the right way to set listening distance and speaker separation, and the right way to troubleshoot set-up points. Lastly, there’s a part dedicated to the usage of the OPC+ filter settings and the EM woofer power-supply stage.

Once the Stellas have been initially arrange with nominal settings, bodily moved and adjusted for finest in-room sound, and taking part in music for a number of weeks, I started to pay attention extra critically and discover the OPC+ and EM woofer changes.

One of the distinctive options of the Stella Utopia EM Evo is the mix of OPC+ filtering and EM-woofer-power-supply sound-personalization changes. The EM woofer energy provide has three settings for bass output that may be chosen based mostly on the amplifier used, private desire, and/or the speaker’s room interplay. The OPC+ filter (hidden behind a entice door on the rear panel of the decrease midrange module) has 4 frequency band changes (bass high quality, midrange, tweeter slope, and tweeter stage), permitting three settings for every. All OPC+ filter bands and the EM woofer management include a nominal setting adopted by a stage adjustment that enables for a setting above and under regular. Together, the sum whole of settings accessible on Stella provides as much as a wholesome 243 mixtures!

Starting with the EM woofer level-control, the “2” setting provides extra output in comparison with the “NOM” setting. This extra output begins slowly within the decrease bass frequencies and rises as frequencies improve till it reaches about +2dB at 150Hz, then begins to say no to flat when it will get to the woofer crossover frequency of 230Hz. In this setting, the higher bass is extra pronounced and might, in some situations, serve to counter a room anomaly or a floor-bounce concern in that frequency vary. If the consumer needs a fuller upper-bass sound than what is offered within the “NOM” place, this setting can even do this. The ”1” setting is used to decrease the bass output from 230Hz on all the way down to the decrease bass frequencies. This setting drops the output by about 1dB and is fairly linear in operate throughout its vary of operation. In this case, the setting can be utilized to easily scale back the bass output of the EM woofer. Subjectively, this setting gives very tight and linear bass with much more management than the already glorious “NOM” setting.

The Bass Quality adjustment within the OPC+ filter adjusts the bass frequencies from roughly 50Hz to 100Hz centered round 70Hz. Position “3” provides 1dB whereas place “1” drops the output by 1dB. Position “2” is nominal. The Midrange adjustment within the OPC+ filter operates linearly from 230Hz to 2.2kHz. Position “3” provides 1dB whereas place “1” drops the output by 1dB. Position “2” is nominal. Like the midrange, the Tweeter Level adjustment within the OPC+ filter operates linearly simply above its begin frequency of two.2kHz to properly previous human listening to. Position “3” provides 1dB, whereas place “1” drops the output by 1dB. Position “2” is nominal. The Tweeter Slope adjustment operates across the transition frequency of the tweeter, 2.2kHz. This adjustment is regular in place “2,” produces a slight dip in place “1,” and provides a slight peak in place “3.” All the adjustable dB-levels listed above are approximate values. (The OPC+ and EM woofer stage controls and their recommended settings underneath sure use circumstances are listed within the consumer handbook for additional clarification.)

Using the Stella with regular settings can be simply high-quality if that have been the one possibility accessible. My predominant curiosity for many visiting audio system is the bass efficiency in my listening room. The Stella performs very properly with these default settings. However, provided that I had the chance to additional refine the bass, I took benefit of the scenario and opted for the subjectively tighter, barely extra linear, and managed bass of the EM woofer energy provide’s “1” setting, although the output was diminished by about 1dB. The diminished bass output was not a big concern; I ended up turning the OPC+ midrange and treble controls all the way down to compensate and convey issues again into subjective steadiness.

I listened to the Stellas with the speaker grilles on and off. There is a distinction. Anytime you set one thing between you and the speaker’s driver, it’s extremely possible {that a} distinction will probably be seen. How a lot of a distinction might rely upon the listener and his/her style. It will definitely rely upon whether or not the producer/designer designed the audio system for use with or with out grilles, which I have no idea. In the case of Stella, the distinction between grilles and no grilles got here all the way down to a slight discount in transparency. After the comparability and settled listening, I collect one might simply regulate to the change if grilles-on are the popular visible look.

Once correctly arrange and adjusted for the listening atmosphere, the Stella Utopia EM Evo proved to be a superb sounding speaker. There was an uncanny quantity of transparency, paying homage to my time with some electrostatic loudspeakers. Unlike most ESLs, the Stella has frequency extremes to steadiness the sound and convey issues right into a extra holistically full perspective. Like an ESL, there may be that feeling you’re listening to extra of what’s on the recording within the vital midrange. With the Stella, one tends to listen to issues happening within the background through the efficiency extra clearly. Things like a fragile hand motion on a delicate guitar vibrato by Kenny Burrell on “Mule” from Midnight Blue (Qobuz 24/192), Stanley Turrentine’s barely muted coughing round 3:27 into the identical music, or the small sound of a key motion by Art Pepper throughout a efficiency of “You’d Be So Nice to Come Home To” (Tidal 16/44.1).

Another function of the Stella is the flexibility to maintain up with the rhythm and pacing of music. On Herbie Hancock’s “Rockit” from the Future Shock album, the lightning-fast rhythm of the fixed synth percussion (and the plethora of digital devices overlayed out and in of the combo) was rendered with such pace and precision that the complete composition took on an exhilarating sense of vitality—an upbeatness that accelerated the enjoyment of this early 90s tune. Friday Night In San Francisco proved to be one other deal with. The rapid-fire taking part in of guitar from Paco de Lucia, Al Di Meola, and John McLaughlin was as pleasing as at all times, however there was a further quantity of readability delivered by the Stella’s means to parse, separate, and simply painting these people and but maintain their performances holistically full. I’ve at all times thought-about this stay efficiency an fascinating distinction to their studio album Passion, Grace & Fire. In the stay album it has at all times appeared as if they’re stepping on one another at instances through the efficiency. With the Stella, it nonetheless sounds that manner, however the added readability reveals their particular person taking part in extra clearly throughout these situations.

Making a multi-driver speaker play as a single entity will not be a simple job. The Stella pulls the feat off properly. One approach to establish this trait is to play a single instrument over one speaker channel. Another manner is to play a number of devices in a single speaker and observe how properly the speaker pulls their imaging off. On Art Pepper’s “You’d Be So Nice to Come Home To,” the association places Red Garland on piano, bassist Paul Chambers, and drummer Philly Joe Jones in the identical proper channel. This trio of performers train all of the drivers within the speaker’s array whereas concurrently requiring a single speaker to maintain every instrument sounding actual but separate from the opposite devices. The Stella accomplishes this feat completely with nice separation of the three devices; but all are full sounding throughout playback, no matter variations in dynamic contrasts at any given second.

Bass efficiency is tight, managed, and real looking sounding. Brian Bromberg’s efficiency of the basic Beatles music “Come Together” (Qobuz) is a superb instance. The bass is current and wealthy, but fast as Bromberg slaps the fretboard to cease a string tone. Each particular person be aware sounds true and real looking. Moving to one thing a bit extra artificial, James Blake’s “Limit to Your Love” (Qobuz) produces a pulsing bassline that shortly stops at its finish and but is fantastically managed throughout fast be aware pulses. Stella performs these synth bass notes with ease, whereas producing the low-frequency energy on this monitor.

Voices are rendered with precision performed again by the Stella. Ella Fitzgerald’s super-pure voice through the Verve years is unmistakably pretty and fascinating. Yet, once we take heed to her singing through the Pablo years, we hear Ella’s magnificent voice aged like high-quality wine by these audio system. Male vocals forged the same spell with a number of the greats. Take Nat King Cole singing “Welcome to The Club.” His voice is as pure as ever when backed by a giant band taking part in with vigor and rhythm. Name your favourite vocalist after which take heed to them by the Stellas utilizing glorious sources and electronics. You will more than likely be greater than happy with the outcomes.

Soundstaging and imaging from the Stella audio system is great by way of instrument placement laterally throughout the stage, and picture peak could be very passable for a big speaker. Playing something with embedded processing, like Q-Sound recordings, simply transfer sounds across the listener, far exterior the speaker boundaries and behind your head if processed to be positioned in these places—suppose Roger Waters’ Amused to Death (Qobuz, Tidal, LP, CD). Standard recordings give well-placed preparations based mostly on the blending engineer’s picks, whereas extra minimalist stereo-mic recordings depict a sensible house with room atmosphere when captured.

I can’t establish any obvious weak point or concern with the Stella Utopia EM Evo that may’t be ameliorated with correct set-up changes, supporting elements, cables, and/or sources. Subjectively, in my listening house, with such a big and bass-friendly room, I’d prefer to have had a couple of dB extra bass output, preserving the identical efficiency achieved with the bass settings staying precisely the place I’ve most well-liked them. This might be an answer the bigger Grande Utopia EM Evo would offer. The different merchandise I seen is that such a big speaker can barely sign its location at instances when devices are laborious panned on to the speaker. I ought to be aware that if I transfer my listening place one other three or extra ft away, that is a lot much less noticeable. Given that almost all giant audio system have this concern, it shouldn’t be a lot of a priority. Lastly, I’d choose only a tad bit extra lower-midrange heat with out it affecting the remainder of the midrange frequencies. This largely falls into the supporting elements and cables class. With that famous, I’ll say that after I play an emotional piece of music like Bill Withers’ 1973 Live at Carnegie Hall rendition of “I Can’t Write Left-Handed,” and the extra fashionable 2010 model sung by John Legend and The Roots on their album titled Wake Up!, these minor quibbles shortly dissolve away, as I slide into the enormously poignant and heartfelt renditions of the Withers music.

The Stella Utopia EM Evo acquitted itself properly through the analysis interval, with spectacular transparency, lightning fast transient response, close to limitless dynamic playback functionality, glorious lateral soundstaging and imaging, excellent picture peak, and nice instrumental separation to enhance very tight, managed, and refined bass response. The Ash Grey end on the analysis pair is as stunning to take a look at because the sound produced by the speaker. Since the present model Stella’s introduction in 2018, many new upper-high-end audio system have entered the market from a number of producers. Today, these Stella Utopia EM Evos proceed to supply glorious sound that’s aggressive with all of them. Go pay attention and listen to for your self how Stella(r) sounding they are often.

Specs & Pricing

Type: 3-way dynamic loudspeaker
Tweeter: 1″ IAL2 pure beryllium inverted dome tweeter
Midrange: 2x 6.5″ “W” composite sandwich expertise midrange
Woofer: 13″ “W” composite sandwich expertise woofer
Impedance: 8 ohms nominal (2.8 ohms minimal)
Crossover frequencies: 230Hz, 2200Hz
Frequency response: 22Hz–40kHz (±3dB), 18Hz (-6dB)
Sensitivity: 94dB (2.83V @ 1 meter)
Recommended amplifier energy: 50–1000 watts
Dimensions: 21.75″ x 61″ x 32.69″
Weight: approx. 374 lbs. ea.
Finish: Carrara White, Black Lacquer, or Ash Grey
Price: $149,998 pair

FOCAL NAIM AMERICA (Distributor: U.S. & Canada)
313 Rue Marion
Repentigny, QC J5Z 4W8, Canada
(866) 271-5689 (Canada)
(800) 663-9352 (U.S.)
focalnaimamerica.com

Reference System
Analog tape: Otari MTR-10 Studio Mastering (¼” 2-track) tape deck with customized Flux Magnetic Mastering Series repro head and secondary customized tube output stage, Studer A820 Studio Mastering (¼” 2-track) tape deck (x2), Studer A80VU MKII Studio Mastering (¼” 2-track) tape deck, ReVox A700 (1/4″ 2-track and ¼” 4-track heads) tape deck, Stellavox SP7 (¼” 2-track) tape deck with ABR giant reel adapter, Nagra IV-S tape deck with customized giant reel adapter, ReVox G-36 (¼” 4-track) tape deck
Analog vinyl: Basis Audio Debut Vacuum with Synchro-Wave Power Supply, Basis Audio 2800 Vacuum ‘tables; Basis Audio SuperArm 9, Basis Audio Vector IV (x2), Graham Phantom III tonearms; Lyra Atlas, Lyra Atlas SL, Lyra Etna, Lyra Etna SL, Lyra Titan-i, van den Hul Colibri XGP, Hana SL, Hana Umami Red, Hana Umami Blue, Ortofon Verismo cartridges
Analog phonostage: The Raptor (Custom), Ayre P-5xe, Musical Surroundings Phonomena II+ w/Linear Power Supply, Zanden Model 1200 Signature
Digital supply: Intel i7 tenth era processor-based music server internet hosting JRiver Media Center, Roon, Qobuz, and Tidal. Currently researching reference DACs
Preamplification: Dual Placette Audio Active linestage
Amplification: Custom/Modified solid-state monoblocks
Loudspeakers: Vandersteen Model 3a Signature with twin 2Wq subwoofers and twin SUB THREE subwoofers utilizing M5-HPB high-pass filter, Focal Stella Utopia EM EVO
Cables: Assortment of AudioQuest, Shunyata, Tara Labs, Acoustic Research, Cardas, and customized cables
Support: Minus-Okay BM-1, Neuance shelf, Maple wooden shelf, Symposium Ultra
Acoustics: Walker Audio
Accessories: Aurios Pro, Pneuance Audio, Walker Audio, Klaudio KD-CLN-LP200, Kirmuss Audio KA-RC-1, VPI 16.5, Clearaudio Double Matrix Professional Sonic
Room: 18′ (W), 8′ (H), 43′ (L)

The submit Focal Stella Utopia EM Evo Loudspeaker appeared first on The Absolute Sound.

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Focal Stella Utopia EM Evo Loudspeaker

Posted on by Andre Jennings

Focal calls its second-from-the-top Stella Utopia EM Evo ($149,998 pair) a technological twin sister to its topmost Grande Utopia EM Evo due to its implementation of comparable options. The Stella shares the Grande’s high-efficiency field-coil or electro-magnetic (EM) woofer, TMD (Tuned Mass Damper) driver suspension, NIC (Neutral Inductance Circuit), MRR (Machined Reinforced Rings), “W” sandwich composite cone materials, Power Flower magnet construction, Focus Time driver alignment, and OPC+ filtering, multi-adjustment sound-personalization in a three-way design with extra svelte dimensions than the bigger four-way Grande.

Being a 3 manner, the Stella has crossovers at 230Hz and a couple of.2kHz. The speaker has a single 13″ electro-magnetic woofer, a 1″ beryllium inverted-dome tweeter, and twin 6.5″ midrange drivers. The midrange and tweeter are in a bodily midrange-tweeter-midrange (MTM) association, sitting above the EM woofer’s enclosure.

The Stella has visually enticing curved surfaces on all 4 sides. Each driver is mounted in its personal optimized semi-separate chamber, organized in what Focal calls Focus Time—a mechanical system that aligns the part between drivers on the listening place. This is completed with the woofer module having an ever-so-gentle backwards tilt, with the decrease midrange module close to parallel, the tweeter module barely tilted downward, and the upper-midrange module tilted a bit extra downward. The ensuing look provides the modules the looks of being gracefully curved, like a backbone. When correctly arrange, the Stella’s module alignment higher time-aligns the drivers’ outputs on the listening place.

Internally, the Stella’s cupboard is fabricated from medium-density fiberboard (MDF) as much as 2″ thick in key areas and closely braced internally. Focal believes the MDF materials has inherent benefits for loudspeaker building, together with stability and resistance to vibration. The entrance baffle incorporates Focal’s MRRs across the drivers for elevated energy. Additional gadgets contained in the Stella embrace: further acoustic wadding for bass management; precision, 20%-thicker inner wiring to restrict present losses; and premium crossover elements.

The Stella Utopia’s base is a thick laminar materials with everlasting, low-profile, built-in wheels on the underside and 4 threaded holes within the corners to just accept Focal’s three-piece (threaded screw, higher cone, and decrease cone), customized, decoupling spike meeting, along with a magnetically attracted counter-spike (spike cup) to guard tile and wooden flooring. On the rear of the Stella’s base is a DC energy connection for the EM woofer’s exterior energy provide. There are WBT bi-wire/bi-amp speaker connections for the principle (midrange and tweeter) and bass (woofer) speaker sections. (Focal provides customized metallic jumpers for single-wired use, if you’re not bi-wiring or bi-amping the audio system.) The upper-front portion of the Stella’s base is a large, flared outlet for the bass module’s reflex port. This port is claimed so as to add no distortion or noise from air circulation, in addition to no dynamic compression of the woofer, which is built-in immediately above the speaker’s base. (The woofer module has a gap on the underside that mates with the formed, front-ported outlet of the speaker’s base.)

The 13″ EM woofer occupies the higher entrance of the bass module. The EM woofer’s cone is fabricated from the identical third-generation “W” composite materials described within the midrange module part beneath however optimized for the bass-frequency vary. Unlike most drivers out there immediately utilizing everlasting magnets comprised of numerous supplies, Focal has chosen an electromagnet. This is a metallic core fashioned right into a magnet by an exterior energy supply used to go electrical present by way of the field-coil surrounding the core. This design selection permits Focal to take care of an optimum steadiness of effectivity and low-frequency output extension. The EM woofer is round in diameter (clearly seen with the grille cowl eliminated). With the grille cowl on, the woofer appears to have a vertical oval form, which provides to the svelte slender look of the Stella—a pleasant design contact.

The two midrange modules (immediately above the woofer module on the high of the speaker) look similar. The 6.5″ midrange is centered within the module, consistent with the tweeter and woofer. The cone is fabricated from Focal’s third-generation “W” composite materials: selective fine-weaved, long-strand, glass-fiber tissue above and beneath a driver-specific-thick, structured, resin-foam core. The motor system consists of Focal’s Power Flower motor (a collection of double-stacked ferrite rings in a round array surrounding the voice coil) that helps better magnetic vitality and vented cooling of the voice coil that’s proportional to the quantity of motion throughout operation: the extra cone motion, the extra venting and thus the extra cooling. The midrange additionally incorporates Focal’s mechanical Neutral Inductance Circuit (NIC). This NIC Faraday ring is used to optimize the magnetic area across the voice coil, rising efficiency by delivering better readability, dynamics, and definition. Finally, the midrange driver has the Tuned Mass Damper (TMD), born from using finite ingredient evaluation to selectively tune the driving force’s encompass suspension and eradicate undesirable resonances, leading to extra linear cone motion, particularly within the 1kHz-to-4kHz vary.

The tweeter module, sandwiched between the 2 midrange modules, incorporates the inverted, pure beryllium dome tweeter, vertically consistent with the opposite drivers. Unlike the detachable material grille covers of the opposite drivers, the 1″ tweeter has a everlasting metallic grille cowl defending the tweeter. The driver’s operational bandwidth is 1kHz to 40kHz. The Infinite Acoustic Loading (IAL2) of the tweeter has a low resonance frequency that’s almost two full octaves beneath the in-system crossover frequency of two.2kHz.

Unlike a number of the massive high-performance audio system that ship in a number of smaller instances, the Stellas come absolutely assembled. That’s the upside. The draw back is {that a} forklift is required for supply. Each absolutely assembled Stella speaker is shipped in a really massive wood crate weighing almost 600 kilos. The crate is provisioned for forklift motion alongside the lengthy facet of the construction. The courier delivered the crates to my storage by way of forklift, the place they sat for a few days till the piano movers may take away the audio system from the crates and produce them into my listening room. The Stella lays flat on its again within the crate throughout transport and is protected on all sides internally with very sturdy closed-cell foam helps minimize exactly for the speaker’s outlines. The piano movers set the crates vertically as directed within the unpacking directions and rolled every speaker out of its crate. The 374-pound Stella had protecting padding across the decrease base and a material “gown” overlaying your complete speaker. Once the movers obtained the audio system into the home, we rolled them into preliminary positions and put in the three-piece decoupling spikes and counter-spike cups. The subsequent steps have been to take away the “gown” and padding on the bottom to disclose an attractive Ash Grey-colored speaker. Final steps concerned unpacking the EM-woofer energy provide for every speaker and making the AC-inlet connection, adopted by the EM-power-supply-to-EM woofer DC energy connection. I wired up the speaker terminals in a bi-wire configuration and turned the EM energy provide on by pushing the facility button on its high. The Stellas have been able to play music.

Before I say extra about setup, it’s price mentioning that purchasers of the Stella Utopia EM Evo will most probably have all these steps of supply and setup carried out by their vendor or consultant. If the proprietor is curious concerning the steps in setup, the Stella unpacking information and consumer handbook has helpful primary directions for getting the audio system arrange and enjoying satisfactorily. Some of the data consists of advising how placement within the room impacts bass, prompt places to make use of and keep away from, how you can join the audio system and EM module, how you can set up decoupling spikes, how you can set listening distance and speaker separation, and how you can troubleshoot set-up points. Lastly, there’s a part dedicated to using the OPC+ filter settings and the EM woofer power-supply stage.

Once the Stellas have been initially arrange with nominal settings, bodily moved and adjusted for finest in-room sound, and enjoying music for a number of weeks, I started to pay attention extra critically and discover the OPC+ and EM woofer changes.

One of the distinctive options of the Stella Utopia EM Evo is the mixture of OPC+ filtering and EM-woofer-power-supply sound-personalization changes. The EM woofer energy provide has three settings for bass output that may be chosen primarily based on the amplifier used, private desire, and/or the speaker’s room interplay. The OPC+ filter (hidden behind a entice door on the rear panel of the decrease midrange module) has 4 frequency band changes (bass high quality, midrange, tweeter slope, and tweeter stage), permitting three settings for every. All OPC+ filter bands and the EM woofer management comprise a nominal setting adopted by a stage adjustment that enables for a setting above and beneath regular. Together, the sum complete of settings out there on Stella provides as much as a wholesome 243 mixtures!

Starting with the EM woofer level-control, the “2” setting provides extra output in comparison with the “NOM” setting. This further output begins slowly within the decrease bass frequencies and rises as frequencies enhance till it reaches about +2dB at 150Hz, then begins to say no to flat when it will get to the woofer crossover frequency of 230Hz. In this setting, the higher bass is extra pronounced and may, in some cases, serve to counter a room anomaly or a floor-bounce concern in that frequency vary. If the consumer desires a fuller upper-bass sound than what is offered within the “NOM” place, this setting will even do this. The ”1” setting is used to decrease the bass output from 230Hz on right down to the decrease bass frequencies. This setting drops the output by about 1dB and is fairly linear in perform throughout its vary of operation. In this case, the setting can be utilized to easily scale back the bass output of the EM woofer. Subjectively, this setting supplies very tight and linear bass with much more management than the already wonderful “NOM” setting.

The Bass Quality adjustment within the OPC+ filter adjusts the bass frequencies from roughly 50Hz to 100Hz centered round 70Hz. Position “3” provides 1dB whereas place “1” drops the output by 1dB. Position “2” is nominal. The Midrange adjustment within the OPC+ filter operates linearly from 230Hz to 2.2kHz. Position “3” provides 1dB whereas place “1” drops the output by 1dB. Position “2” is nominal. Like the midrange, the Tweeter Level adjustment within the OPC+ filter operates linearly simply above its begin frequency of two.2kHz to properly previous human listening to. Position “3” provides 1dB, whereas place “1” drops the output by 1dB. Position “2” is nominal. The Tweeter Slope adjustment operates across the transition frequency of the tweeter, 2.2kHz. This adjustment is regular in place “2,” produces a slight dip in place “1,” and provides a slight peak in place “3.” All the adjustable dB-levels listed above are approximate values. (The OPC+ and EM woofer stage controls and their prompt settings beneath sure use circumstances are listed within the consumer handbook for additional rationalization.)

Using the Stella with regular settings could be simply tremendous if that have been the one possibility out there. My foremost curiosity for many visiting audio system is the bass efficiency in my listening room. The Stella performs very properly with these default settings. However, on condition that I had the chance to additional refine the bass, I took benefit of the scenario and opted for the subjectively tighter, barely extra linear, and managed bass of the EM woofer energy provide’s “1” setting, regardless that the output was decreased by about 1dB. The decreased bass output was not a big concern; I ended up turning the OPC+ midrange and treble controls right down to compensate and produce issues again into subjective steadiness.

I listened to the Stellas with the speaker grilles on and off. There is a distinction. Anytime you place one thing between you and the speaker’s driver, it’s extremely possible {that a} distinction will probably be seen. How a lot of a distinction could depend upon the listener and his/her style. It will definitely depend upon whether or not the producer/designer designed the audio system for use with or with out grilles, which I have no idea. In the case of Stella, the distinction between grilles and no grilles got here right down to a slight discount in transparency. After the comparability and settled listening, I collect one may simply alter to the change if grilles-on are the popular visible look.

Once correctly arrange and adjusted for the listening setting, the Stella Utopia EM Evo proved to be a superb sounding speaker. There was an uncanny quantity of transparency, paying homage to my time with some electrostatic loudspeakers. Unlike most ESLs, the Stella has frequency extremes to steadiness the sound and produce issues right into a extra holistically full perspective. Like an ESL, there’s that feeling you’re listening to extra of what’s on the recording within the essential midrange. With the Stella, one tends to listen to issues happening within the background in the course of the efficiency extra clearly. Things like a fragile hand motion on a delicate guitar vibrato by Kenny Burrell on “Mule” from Midnight Blue (Qobuz 24/192), Stanley Turrentine’s barely muted coughing round 3:27 into the identical tune, or the small sound of a key motion by Art Pepper throughout a efficiency of “You’d Be So Nice to Come Home To” (Tidal 16/44.1).

Another function of the Stella is the flexibility to maintain up with the rhythm and pacing of music. On Herbie Hancock’s “Rockit” from the Future Shock album, the lightning-fast rhythm of the fixed synth percussion (and the plethora of digital devices overlayed out and in of the combination) was rendered with such velocity and precision that your complete composition took on an exhilarating sense of vitality—an upbeatness that accelerated the enjoyment of this early 90s tune. Friday Night In San Francisco proved to be one other deal with. The rapid-fire enjoying of guitar from Paco de Lucia, Al Di Meola, and John McLaughlin was as pleasurable as all the time, however there was a further quantity of readability delivered by the Stella’s skill to parse, separate, and simply painting these people and but hold their performances holistically full. I’ve all the time thought of this dwell efficiency an fascinating distinction to their studio album Passion, Grace & Fire. In the dwell album it has all the time appeared as if they’re stepping on one another at instances in the course of the efficiency. With the Stella, it nonetheless sounds that manner, however the added readability reveals their particular person enjoying extra clearly throughout these cases.

Making a multi-driver speaker play as a single entity will not be a straightforward job. The Stella pulls the feat off properly. One option to establish this trait is to play a single instrument over one speaker channel. Another manner is to play a number of devices in a single speaker and observe how properly the speaker pulls their imaging off. On Art Pepper’s “You’d Be So Nice to Come Home To,” the association places Red Garland on piano, bassist Paul Chambers, and drummer Philly Joe Jones in the identical proper channel. This trio of performers train all of the drivers within the speaker’s array whereas concurrently requiring a single speaker to maintain every instrument sounding actual but separate from the opposite devices. The Stella accomplishes this feat completely with nice separation of the three devices; but all are full sounding throughout playback, no matter variations in dynamic contrasts at any given second.

Bass efficiency is tight, managed, and real looking sounding. Brian Bromberg’s efficiency of the basic Beatles tune “Come Together” (Qobuz) is a superb instance. The bass is current and wealthy, but fast as Bromberg slaps the fretboard to cease a string tone. Each particular person be aware sounds true and real looking. Moving to one thing a bit extra artificial, James Blake’s “Limit to Your Love” (Qobuz) produces a pulsing bassline that shortly stops at its finish and but is fantastically managed throughout speedy be aware pulses. Stella performs these synth bass notes with ease, whereas producing the low-frequency energy on this monitor.

Voices are rendered with precision performed again by way of the Stella. Ella Fitzgerald’s super-pure voice in the course of the Verve years is unmistakably beautiful and fascinating. Yet, after we hearken to her singing in the course of the Pablo years, we hear Ella’s magnificent voice aged like tremendous wine by way of these audio system. Male vocals solid an identical spell with a number of the greats. Take Nat King Cole singing “Welcome to The Club.” His voice is as pure as ever when backed by a giant band enjoying with vigor and rhythm. Name your favourite vocalist after which hearken to them by way of the Stellas utilizing wonderful sources and electronics. You will most probably be greater than happy with the outcomes.

Soundstaging and imaging from the Stella audio system is great by way of instrument placement laterally throughout the stage, and picture top may be very passable for a big speaker. Playing something with embedded processing, like Q-Sound recordings, simply transfer sounds across the listener, far outdoors the speaker boundaries and behind your head if processed to be positioned in these places—suppose Roger Waters’ Amused to Death (Qobuz, Tidal, LP, CD). Standard recordings give well-placed preparations primarily based on the blending engineer’s choices, whereas extra minimalist stereo-mic recordings depict a practical house with room atmosphere when captured.

I can’t establish any obtrusive weak point or concern with the Stella Utopia EM Evo that may’t be ameliorated with correct set-up changes, supporting elements, cables, and/or sources. Subjectively, in my listening house, with such a big and bass-friendly room, I’d wish to have had a number of dB extra bass output, protecting the identical efficiency achieved with the bass settings staying precisely the place I’ve most popular them. This might be an answer the bigger Grande Utopia EM Evo would supply. The different merchandise I seen is that such a big speaker can barely sign its location at instances when devices are onerous panned on to the speaker. I ought to be aware that if I transfer my listening place one other three or extra ft away, that is a lot much less noticeable. Given that almost all massive audio system have this concern, it shouldn’t be a lot of a priority. Lastly, I’d choose only a tad bit extra lower-midrange heat with out it affecting the remainder of the midrange frequencies. This largely falls into the supporting elements and cables class. With that famous, I’ll say that once I play an emotional piece of music like Bill Withers’ 1973 Live at Carnegie Hall rendition of “I Can’t Write Left-Handed,” and the extra fashionable 2010 model sung by John Legend and The Roots on their album titled Wake Up!, these minor quibbles shortly dissolve away, as I slide into the enormously poignant and heartfelt renditions of the Withers tune.

The Stella Utopia EM Evo acquitted itself properly in the course of the analysis interval, with spectacular transparency, lightning fast transient response, close to limitless dynamic playback functionality, wonderful lateral soundstaging and imaging, superb picture top, and nice instrumental separation to enhance very tight, managed, and refined bass response. The Ash Grey end on the analysis pair is as stunning to take a look at because the sound produced by the speaker. Since the present model Stella’s introduction in 2018, many new upper-high-end audio system have entered the market from a number of producers. Today, these Stella Utopia EM Evos proceed to provide wonderful sound that’s aggressive with all of them. Go pay attention and listen to for your self how Stella(r) sounding they are often.

Specs & Pricing

Type: 3-way dynamic loudspeaker
Tweeter: 1″ IAL2 pure beryllium inverted dome tweeter
Midrange: 2x 6.5″ “W” composite sandwich expertise midrange
Woofer: 13″ “W” composite sandwich expertise woofer
Impedance: 8 ohms nominal (2.8 ohms minimal)
Crossover frequencies: 230Hz, 2200Hz
Frequency response: 22Hz–40kHz (±3dB), 18Hz (-6dB)
Sensitivity: 94dB (2.83V @ 1 meter)
Recommended amplifier energy: 50–1000 watts
Dimensions: 21.75″ x 61″ x 32.69″
Weight: approx. 374 lbs. ea.
Finish: Carrara White, Black Lacquer, or Ash Grey
Price: $149,998 pair

FOCAL NAIM AMERICA (Distributor: U.S. & Canada)
313 Rue Marion
Repentigny, QC J5Z 4W8, Canada
(866) 271-5689 (Canada)
(800) 663-9352 (U.S.)
focalnaimamerica.com

Reference System
Analog tape: Otari MTR-10 Studio Mastering (¼” 2-track) tape deck with customized Flux Magnetic Mastering Series repro head and secondary customized tube output stage, Studer A820 Studio Mastering (¼” 2-track) tape deck (x2), Studer A80VU MKII Studio Mastering (¼” 2-track) tape deck, ReVox A700 (1/4″ 2-track and ¼” 4-track heads) tape deck, Stellavox SP7 (¼” 2-track) tape deck with ABR massive reel adapter, Nagra IV-S tape deck with customized massive reel adapter, ReVox G-36 (¼” 4-track) tape deck
Analog vinyl: Basis Audio Debut Vacuum with Synchro-Wave Power Supply, Basis Audio 2800 Vacuum ‘tables; Basis Audio SuperArm 9, Basis Audio Vector IV (x2), Graham Phantom III tonearms; Lyra Atlas, Lyra Atlas SL, Lyra Etna, Lyra Etna SL, Lyra Titan-i, van den Hul Colibri XGP, Hana SL, Hana Umami Red, Hana Umami Blue, Ortofon Verismo cartridges
Analog phonostage: The Raptor (Custom), Ayre P-5xe, Musical Surroundings Phonomena II+ w/Linear Power Supply, Zanden Model 1200 Signature
Digital supply: Intel i7 tenth technology processor-based music server internet hosting JRiver Media Center, Roon, Qobuz, and Tidal. Currently researching reference DACs
Preamplification: Dual Placette Audio Active linestage
Amplification: Custom/Modified solid-state monoblocks
Loudspeakers: Vandersteen Model 3a Signature with twin 2Wq subwoofers and twin SUB THREE subwoofers utilizing M5-HPB high-pass filter, Focal Stella Utopia EM EVO
Cables: Assortment of AudioQuest, Shunyata, Tara Labs, Acoustic Research, Cardas, and customized cables
Support: Minus-Okay BM-1, Neuance shelf, Maple wooden shelf, Symposium Ultra
Acoustics: Walker Audio
Accessories: Aurios Pro, Pneuance Audio, Walker Audio, Klaudio KD-CLN-LP200, Kirmuss Audio KA-RC-1, VPI 16.5, Clearaudio Double Matrix Professional Sonic
Room: 18′ (W), 8′ (H), 43′ (L)

The put up Focal Stella Utopia EM Evo Loudspeaker appeared first on The Absolute Sound.

World News

The 2023 AXPONA Show: Andre Jennings on Analog and Digital Sources

Posted on by Andre Jennings

2023 AXPONA broke records with over 9000 attendees, 200 rooms, 500+ manufacturers, and a number of product introductions. Additionally, I observed an elevated variety of showgoers within the variety of girls, youthful aged audiophile/audio curious people, and folks of shade. The present organizers are shifting in the fitting route by increasing the pool of attendees, which I’m certain added to the 20% improve in attendance this yr. With 200 rooms to see, there isn’t a method I may handle to go to all of them. The objects that I used to be conscious of, from contacts or press releases obtained, had a good shot of being visited. If I missed a number of, which I’m certain I did given the scale of the present, I provide my apologies. Let’s take a look at a number of the new product introductions I discovered.

Most Significant

DS Audio Grand Master EX cartridge
Improving on the Grand Master, the Grand Master EX ($22,500) provides a unified one-piece diamond cantilever/stylus. That’s proper, the micro-ridge stylus and the 0.22mm cantilever are one steady diamond reduce, with out the standard bonding required for nearly all different cartridges. This advantages the cartridge with higher structural stability, extra correct transmission of groove modulation in addition to extra exact alignment of stylus to cantilever since it’s a one-piece diamond. Paired with the Grand Master EQ (optical cartridge equalizer), Clearaudio Ref Jubilee ’desk with Universal 9” tonearm ($30,000), D’Agostino Momentum HD preamp ($42,500) and  M400 MvX amps ($79,950), and Wilson Alexx V audio system ($145,000) related with Transparent cables, with all parts sitting on Bassocontinuo Revolution X racks, the sound was a lot improved. Playing Lady Blackbird’s “Blackbird” observe from the Black Acid Soul LP revealed good vocals, clear and clear bass, drums, and piano. Save for a little bit of bass bloat (because of room points) and a slight breakup at one level on a vocal crescendo, the system produced satisfying sound. Look for a evaluation of the Grand Master EX in a future concern.

exaSound s82 Mark II Streaming DAC and Roon Server
The exaSound s82 Mark II Streaming DAC and Roon Server ($7599) was paired with the VAC Master preamplifier ($38,000) and Master 300 amplifier ($42,000), and Gershman Acoustics Studio XdB audio system with built-in bass-trap stand ($12,000) and Cardas cables. On an “Autumn Leaves” observe, the sound was clear on vocals with subjectively fast and nimble bass. The s82 Mark II options the ES9038PRO DAC (DSD512, DXD as much as 352.8kHz, PCM and MQA to 384kHz), unbiased single-ended and balanced output levels, headphone amplifier, inside quantity management, asynchronous USB streaming, galvanic isolation, low-jitter sign paths, selectable reconstruction filters, twin exterior energy provides, and an Intel i5 powered Roon server module with further server assist for UPnP, HQPlayer, AirPlay, Bluetooth, Tidal, Qobuz, and YouTube. The s82 Mark II presents an entire all-in-one Server, streamer, and DAC answer with a high-quality headphone amplifier.

Kalista DreamPlay Twenty-Twenty turntable and DreamPlay XC CD/SACD Player/DAC
The Kalista DreamPlay Twenty-Twenty ’desk ($54,000) and XC CD/SACD participant/DAC ($79,000) had been paired with a full set of Karan Acoustics electronics: LINEa preamplifier with exterior energy provide ($41,000), PHONOa phono preamplifier with exterior energy provide ($38,000), and POWERa mono energy amplifiers ($106,000). The audio system had been the exact same Vimberg Tonda Ds I reviewed within the pages of TAS in Issue 320. Connecting the system had been Crystal Cable Art Series’ Van Gogh and Da Vinci traces. Additional grounding was tied to the system utilizing the Entreq Olympus Infinity Ten floor field ($12,000). The DreamPlay XC options CD/SACD transport, native DSD as much as 256, PCM, DXD as much as 384kHz, Ethernet and Wi-Fi streaming, Ethernet, coax, I2S, and USB inputs, AES/EBU outputs, a built-in DreamPlay XC D/A converter, RCA and XLR analog outputs, and an exterior energy provide. Unfortunately, the Twenty-Twenty turntable part of Kalista’s web site was unavailable for specification retrieval on the time of this writing. Using both Kalista supply (analog or digital), the sound exiting the Tonda D was glorious whether or not taking part in classical music through silver disc or spinning vinyl taking part in Lady Blackbird. The soundstage was expansive, the presentation had truthful readability, and instrument/vocal timbres had been spot on and as practical as I bear in mind the audio system sounding throughout my evaluation.

Innous Pulsar Network Music Player
The Innous Pulsar Network Music Player ($6899) was launched at this present. Paired with a Magico A5, a Vinni Rossi BRAMA built-in amplifier, an MSB Premier DAC, a PS Audio P15, and Kimber Kable cables. The Pulsar encompasses a bead-blasted anodized aluminum chassis, 300VA toroidal transformer, inside PhoenixUSB Lite reclocker, optimized USB output, and twin, unbiased CX voltage-regulator modules. Brief listening within the above configuration yielded a complete system sound that was gentle and crisp in timbre.

Oracle Reference 1 Tonearm
The Oracle Delphi Reference ’desk ($13,920) hosted the Reference 1 tonearm ($6000) and Lyra Atlas Lambda cartridge ($11,995). This mixture was paired with the VAC Statement Phono ($80,000), VAC Statement Linestage ($80,000), and VAC Statement 452 amplifiers ($75,000 every), driving Acora Acoustics VRC audio system in Pearl Granite ($218,000 est.). All cables had been sourced from Cardas. The digital front-end contained the Aurender N30SA ($25,000), Aurender MC20 ($30,000), Lampizator Horizon DAC ($50,000), and Oracle CD 2000 MK IV ($13,500). The Reference 1 tonearm is a 4-bearing design that options VTA, anti-skate, and azimuth changes, a silicone trough for ’arm damping, a carbon-fiber armtube, 20g efficient mass, an end-of-record auto-armlift, 223mm pivot-to-spindle distance, and an efficient size of 240.3mm. In-room sound was excellent to glorious relying on the music tracks performed. Considering the large room measurement, this method did surprisingly properly.

Auspicious Debuts

VPI Avenger Direct Turntable
The VPI Avenger Direct ’desk ($36,000) internet hosting a Lyra Etna (non-lambda, $8995) was paired with the VTL Signature Phonostage ($15,000), VTL Line Preamplifier Series III ($35,000), VTL MB-450 Series III Signature mono amps ($30,000 pair), and the Stenheim Reference Ultime Two ($155,000) related with a full loom of high Nordost merchandise (cables, energy, isolation units, community swap, and many others.). The different supply on this system was the dCS Rossini Apex DAC ($32,800) with Rossini Master Clock ($10,850): which sounded excellent taking part in a stay BSO efficiency of Shostakovich’s 11th symphony. Vinyl playback was top-notch with the system taking part in Lady Blackbird, Duke Ellington’s Jazz Violin Sessions, and the wonderful Rossini L’Italiana in Algeri sinfonia.

Lumin
Lumin confirmed three new merchandise: the U2 Network Music Transport ($5000), T3 ($4990) streamer/renderer/DAC, and the U1-X Network Music Transport. A number of of the U2 and Y3’s options embrace an all-new processor, devoted USB output, linear energy provide, fiber community enter, DSD512 and PCM 768kHz playback, MQA decoding, and LEEDH quantity management. The U1-X combines the options of the U1 digital transport with the X-1 energy provide that’s mentioned to yield improved sound staging, element, heat, and total presence. The system was paired with the Lumin XAMP ($13,990) and a set of Matthew Bond cables.

 

SME 60 Turntable
The SME 60 was proven for the primary time at AXPONA 2023, though already reviewed by Michael Fremer in Issue 333. Most of the options are lined in that evaluation. The SME 60 with VA Series tonearm is a piece of engineering precision and creativity geared in direction of bettering on SME’s legacy designs. Based on all indications offered throughout a proof of the design, the product is a hit. Listening to the SME 60 with VA ’arm in a system with AVM 8.3 Phono ($13,995), AVM 8.3 preamp ($18,385), AVM 8.3 amplifiers ($44,995/pr.), and Canton Reference 3K loudspeakers ($13,995) related with Kubala-Sosna cables, confirmed the analog front-end to be quiet and managed whereas tracing the groove with ease.

SonoruS ATR10 mkII Tape Deck
Scott Walker Audio confirmed the brand new SonoruS ATR10 mkII tape participant ($32,500). This unit is a plug-and-play, turnkey reel-to-reel tape deck. After the unique ATR10 was launched over a decade in the past, the brand new mkII mannequin options up to date electronics and redesigned mechanical elements. The output options tube playback electronics which are mentioned to supply glorious “dynamic vary and low bass authority with minimal coloration.” Other options embrace the compact chassis of the ATR10 mkII, DC Coupled Stabilized Loop Gain Technology, regulated tape stress of provide reel and take-up reel, 7.5ips and 15ips velocity choice, IEC and NAB EQ, captive NAB spindles, motor-assisted quick breaking, library wind, and optical chief tape detection. In system, the ATR10 mkII was feeding the VAC Master Preamp ($30,000), VAC Master 300 iQ amplifiers ($42,000 ea.), and Von Schweikert Ultra 7 loudspeakers with Shockwave V-12XS subwoofer ($16,500) related with Masterbuilt Ultra cables. Brief listening to the ATR10 mkII taking part in SonoruS Holographic Imaging tapes confirmed promising efficiency. I want to discover this tape machine’s efficiency additional.

Other turntable debuts embrace: The AMG Giro MkII, Technics 1500C White ($1299), and Luxman’s PD-191A ($12,495). Bel Canto premiered the BLACK DAC System ($40,000) that features three analog inputs with one being an mm/mc phonostage. The new and improved Spin-Clean report washer ($79) with snap-in curler, wedge-fit brushes, and simple clear basin was additionally proven.

In Other News

Axiss Audio launched a brand new model of the Yuki AP-01 turntable ($TBD) from Japan. This unique-looking, all-metal turntable was on show the primary day of the present. I managed to get an image of it however didn’t take heed to it on that day. When I returned, the Yuki AP-01 was on static show with no cartridge. Unfortunately, that meant no listening to it or observing its operation. However, there was one thing else of curiosity on this room. That merchandise was the Gauder Acoustics DARC 200 loudspeakers ($149,000). Being conversant in Gauder Acoustic’s Berlina RC 9, which I reviewed in April of 2016 (TAS 262), I used to be intrigued with the DARC 200. The speaker takes the Berlina rib building to new heights with the implementation of aluminum as an alternative of a dense fiber materials. In addition, the crossovers and drivers are new and have been improved through the years. The speaker options some adjustability by way of linear bass output stage and selective increase/reduce between 30Hz–60Hz (typical downside areas for a lot of rooms). Driven by a full suite of Accuphase electronics or alternately a full suite of Soulution electronics and sourced by a Transrotor TT with Airtight Opus 1 cartridge, the DARC 200 audio system sounded very promising and simply confirmed the subjective user-preference-based distinction between the 2 units of electronics: one leaning in direction of wealthy and heat whereas the opposite being faster and having barely extra perceived low-level decision. The efficiency was satisfying sufficient to foresee a evaluation of a DARC loudspeaker within the close to future.

Belgium based mostly firm, AM Belgium nv, has been in enterprise since 1969. The firm has in-house functionality to make repro and report tape heads for skilled and business tape decks. For sure fashions of the tape heads that AM Belgium shares, the shopper can order the correct different head in a single amount. For different substitute heads that aren’t stocked, the minimal order varies from 5 to 10 heads relying on whether or not the corporate has the substitute head design from a earlier order or it’s a new substitute head design. AM Belgium additionally presents relapping and reconditioning providers.

AJ’s Analog Best of Show

Best Sound (cost-no-object): A tie. The Wynn Audio room with Vimberg Tonda D/Karan Acoustics phono, preamp, amp, Kalista digital supply and turntable with Xquisite cartridge, and Crystal Cable Da Vinci wiring, and the Stenheim Reference Ultime Two with VTL phono, preamp, amplifiers, dCS DAC, and VPI turntable with Lyra cartridge.

Best Sound (for-the-money): The full Yamaha Flagship HelloFi Series 5000 system. While the fee was increased than some lower-priced choices on the present, this was the perfect sounding system on the lowest price that I heard.

Most Significant Product Introduction: The new and improved Spin-Clean Record Washer equipment for brand spanking new and budding vinyl playback audiophiles to begin cleansing their records.

 Most Significant Trend: Diversity at AXPONA 2023. I noticed extra children, girls, and folks of shade than at earlier exhibits. The present organizers are increasing their attain. This is an efficient factor for the trade and our passion.

Most Coveted Product(s): Gauder Acoustics DARC 200 loudspeakers, SonoruS ATR10 mkII tape participant, and Kalista DreamPlay XC SACD/CD Player/DAC.

The publish The 2023 AXPONA Show: Andre Jennings on Analog and Digital Sources appeared first on The Absolute Sound.

Uncategorized

The 2023 AXPONA Show: Andre Jennings on Analog and Digital Sources

Posted on by Andre Jennings

2023 AXPONA broke records with over 9000 attendees, 200 rooms, 500+ manufacturers, and a number of product introductions. Additionally, I seen an elevated variety of showgoers within the variety of girls, youthful aged audiophile/audio curious of us, and folks of shade. The present organizers are shifting in the appropriate course by increasing the pool of attendees, which I’m certain added to the 20% improve in attendance this 12 months. With 200 rooms to see, there isn’t any means I may handle to go to all of them. The gadgets that I used to be conscious of, from contacts or press releases acquired, had a good shot of being visited. If I missed a number of, which I’m certain I did given the scale of the present, I provide my apologies. Let’s have a look at a few of the new product introductions I discovered.

Most Significant

DS Audio Grand Master EX cartridge
Improving on the Grand Master, the Grand Master EX ($22,500) provides a unified one-piece diamond cantilever/stylus. That’s proper, the micro-ridge stylus and the 0.22mm cantilever are one steady diamond lower, with out the same old bonding required for nearly all different cartridges. This advantages the cartridge with better structural stability, extra correct transmission of groove modulation in addition to extra exact alignment of stylus to cantilever since it’s a one-piece diamond. Paired with the Grand Master EQ (optical cartridge equalizer), Clearaudio Ref Jubilee ’desk with Universal 9” tonearm ($30,000), D’Agostino Momentum HD preamp ($42,500) and  M400 MvX amps ($79,950), and Wilson Alexx V audio system ($145,000) related with Transparent cables, with all elements sitting on Bassocontinuo Revolution X racks, the sound was a lot improved. Playing Lady Blackbird’s “Blackbird” monitor from the Black Acid Soul LP revealed good vocals, clear and clear bass, drums, and piano. Save for a little bit of bass bloat (because of room points) and a slight breakup at one level on a vocal crescendo, the system produced satisfying sound. Look for a evaluation of the Grand Master EX in a future concern.

exaSound s82 Mark II Streaming DAC and Roon Server
The exaSound s82 Mark II Streaming DAC and Roon Server ($7599) was paired with the VAC Master preamplifier ($38,000) and Master 300 amplifier ($42,000), and Gershman Acoustics Studio XdB audio system with built-in bass-trap stand ($12,000) and Cardas cables. On an “Autumn Leaves” monitor, the sound was clear on vocals with subjectively fast and nimble bass. The s82 Mark II options the ES9038PRO DAC (DSD512, DXD as much as 352.8kHz, PCM and MQA to 384kHz), impartial single-ended and balanced output levels, headphone amplifier, inner quantity management, asynchronous USB streaming, galvanic isolation, low-jitter sign paths, selectable reconstruction filters, twin exterior energy provides, and an Intel i5 powered Roon server module with further server help for UPnP, HQPlayer, AirPlay, Bluetooth, Tidal, Qobuz, and YouTube. The s82 Mark II provides a whole all-in-one Server, streamer, and DAC answer with a high-quality headphone amplifier.

Kalista DreamPlay Twenty-Twenty turntable and DreamPlay XC CD/SACD Player/DAC
The Kalista DreamPlay Twenty-Twenty ’desk ($54,000) and XC CD/SACD participant/DAC ($79,000) have been paired with a full set of Karan Acoustics electronics: LINEa preamplifier with exterior energy provide ($41,000), PHONOa phono preamplifier with exterior energy provide ($38,000), and POWERa mono energy amplifiers ($106,000). The audio system have been the exact same Vimberg Tonda Ds I reviewed within the pages of TAS in Issue 320. Connecting the system have been Crystal Cable Art Series’ Van Gogh and Da Vinci traces. Additional grounding was tied to the system utilizing the Entreq Olympus Infinity Ten floor field ($12,000). The DreamPlay XC options CD/SACD transport, native DSD as much as 256, PCM, DXD as much as 384kHz, Ethernet and Wi-Fi streaming, Ethernet, coax, I2S, and USB inputs, AES/EBU outputs, a built-in DreamPlay XC D/A converter, RCA and XLR analog outputs, and an exterior energy provide. Unfortunately, the Twenty-Twenty turntable part of Kalista’s web site was unavailable for specification retrieval on the time of this writing. Using both Kalista supply (analog or digital), the sound exiting the Tonda D was wonderful whether or not enjoying classical music through silver disc or spinning vinyl enjoying Lady Blackbird. The soundstage was expansive, the presentation had truthful readability, and instrument/vocal timbres have been spot on and as sensible as I bear in mind the audio system sounding throughout my evaluation.

Innous Pulsar Network Music Player
The Innous Pulsar Network Music Player ($6899) was launched at this present. Paired with a Magico A5, a Vinni Rossi BRAMA built-in amplifier, an MSB Premier DAC, a PS Audio P15, and Kimber Kable cables. The Pulsar contains a bead-blasted anodized aluminum chassis, 300VA toroidal transformer, inner PhoenixUSB Lite reclocker, optimized USB output, and twin, impartial CX voltage-regulator modules. Brief listening within the above configuration yielded a complete system sound that was mild and crisp in timbre.

Oracle Reference 1 Tonearm
The Oracle Delphi Reference ’desk ($13,920) hosted the Reference 1 tonearm ($6000) and Lyra Atlas Lambda cartridge ($11,995). This mixture was paired with the VAC Statement Phono ($80,000), VAC Statement Linestage ($80,000), and VAC Statement 452 amplifiers ($75,000 every), driving Acora Acoustics VRC audio system in Pearl Granite ($218,000 est.). All cables have been sourced from Cardas. The digital front-end contained the Aurender N30SA ($25,000), Aurender MC20 ($30,000), Lampizator Horizon DAC ($50,000), and Oracle CD 2000 MK IV ($13,500). The Reference 1 tonearm is a 4-bearing design that options VTA, anti-skate, and azimuth changes, a silicone trough for ’arm damping, a carbon-fiber armtube, 20g efficient mass, an end-of-record auto-armlift, 223mm pivot-to-spindle distance, and an efficient size of 240.3mm. In-room sound was excellent to wonderful relying on the music tracks performed. Considering the large room measurement, this method did surprisingly effectively.

Auspicious Debuts

VPI Avenger Direct Turntable
The VPI Avenger Direct ’desk ($36,000) internet hosting a Lyra Etna (non-lambda, $8995) was paired with the VTL Signature Phonostage ($15,000), VTL Line Preamplifier Series III ($35,000), VTL MB-450 Series III Signature mono amps ($30,000 pair), and the Stenheim Reference Ultime Two ($155,000) related with a full loom of high Nordost merchandise (cables, energy, isolation gadgets, community swap, and so on.). The different supply on this system was the dCS Rossini Apex DAC ($32,800) with Rossini Master Clock ($10,850): which sounded excellent enjoying a stay BSO efficiency of Shostakovich’s 11th symphony. Vinyl playback was top-notch with the system enjoying Lady Blackbird, Duke Ellington’s Jazz Violin Sessions, and the superb Rossini L’Italiana in Algeri sinfonia.

Lumin
Lumin confirmed three new merchandise: the U2 Network Music Transport ($5000), T3 ($4990) streamer/renderer/DAC, and the U1-X Network Music Transport. A number of of the U2 and Y3’s options embody an all-new processor, devoted USB output, linear energy provide, fiber community enter, DSD512 and PCM 768kHz playback, MQA decoding, and LEEDH quantity management. The U1-X combines the options of the U1 digital transport with the X-1 energy provide that’s stated to yield improved sound staging, element, heat, and general presence. The system was paired with the Lumin XAMP ($13,990) and a set of Matthew Bond cables.

 

SME 60 Turntable
The SME 60 was proven for the primary time at AXPONA 2023, though already reviewed by Michael Fremer in Issue 333. Most of the options are coated in that evaluation. The SME 60 with VA Series tonearm is a piece of engineering precision and creativity geared in the direction of enhancing on SME’s legacy designs. Based on all indications introduced throughout a proof of the design, the product is a hit. Listening to the SME 60 with VA ’arm in a system with AVM 8.3 Phono ($13,995), AVM 8.3 preamp ($18,385), AVM 8.3 amplifiers ($44,995/pr.), and Canton Reference 3K loudspeakers ($13,995) related with Kubala-Sosna cables, confirmed the analog front-end to be quiet and managed whereas tracing the groove with ease.

SonoruS ATR10 mkII Tape Deck
Scott Walker Audio confirmed the brand new SonoruS ATR10 mkII tape participant ($32,500). This unit is a plug-and-play, turnkey reel-to-reel tape deck. After the unique ATR10 was launched over a decade in the past, the brand new mkII mannequin options up to date electronics and redesigned mechanical elements. The output options tube playback electronics which might be stated to supply wonderful “dynamic vary and low bass authority with minimal coloration.” Other options embody the compact chassis of the ATR10 mkII, DC Coupled Stabilized Loop Gain Technology, regulated tape rigidity of provide reel and take-up reel, 7.5ips and 15ips velocity choice, IEC and NAB EQ, captive NAB spindles, motor-assisted quick breaking, library wind, and optical chief tape detection. In system, the ATR10 mkII was feeding the VAC Master Preamp ($30,000), VAC Master 300 iQ amplifiers ($42,000 ea.), and Von Schweikert Ultra 7 loudspeakers with Shockwave V-12XS subwoofer ($16,500) related with Masterbuilt Ultra cables. Brief listening to the ATR10 mkII enjoying SonoruS Holographic Imaging tapes confirmed promising efficiency. I wish to discover this tape machine’s efficiency additional.

Other turntable debuts embody: The AMG Giro MkII, Technics 1500C White ($1299), and Luxman’s PD-191A ($12,495). Bel Canto premiered the BLACK DAC System ($40,000) that features three analog inputs with one being an mm/mc phonostage. The new and improved Spin-Clean report washer ($79) with snap-in curler, wedge-fit brushes, and simple clear basin was additionally proven.

In Other News

Axiss Audio launched a brand new model of the Yuki AP-01 turntable ($TBD) from Japan. This unique-looking, all-metal turntable was on show the primary day of the present. I managed to get an image of it however didn’t hearken to it on that day. When I returned, the Yuki AP-01 was on static show with no cartridge. Unfortunately, that meant no listening to it or observing its operation. However, there was one thing else of curiosity on this room. That merchandise was the Gauder Akustik DARC 200 loudspeakers ($149,000). Being aware of Gauder Akustik’s Berlina RC 9, which I reviewed in April of 2016 (TAS 262), I used to be intrigued with the DARC 200. The speaker takes the Berlina rib development to new heights with the implementation of aluminum as a substitute of a dense fiber materials. In addition, the crossovers and drivers are new and have been improved through the years. The speaker options some adjustability when it comes to linear bass output degree and selective enhance/lower between 30Hz–60Hz (typical drawback areas for a lot of rooms). Driven by a full suite of Accuphase electronics or alternately a full suite of Soulution electronics and sourced by a Transrotor TT with Airtight Opus 1 cartridge, the DARC 200 audio system sounded very promising and simply confirmed the subjective user-preference-based distinction between the 2 units of electronics: one leaning in the direction of wealthy and heat whereas the opposite being faster and having barely extra perceived low-level decision. The efficiency was satisfying sufficient to foresee a evaluation of a DARC loudspeaker within the close to future.

Belgium primarily based firm, AM Belgium nv, has been in enterprise since 1969. The firm has in-house functionality to make repro and report tape heads for skilled and industrial tape decks. For sure fashions of the tape heads that AM Belgium shares, the client can order the correct various head in a single amount. For various substitute heads that aren’t stocked, the minimal order varies from 5 to 10 heads relying on whether or not the corporate has the substitute head design from a earlier order or it’s a new substitute head design. AM Belgium additionally provides relapping and reconditioning providers.

AJ’s Analog Best of Show

Best Sound (cost-no-object): A tie. The Wynn Audio room with Vimberg Tonda D/Karan Acoustics phono, preamp, amp, Kalista digital supply and turntable with Xquisite cartridge, and Crystal Cable Da Vinci wiring, and the Stenheim Reference Ultime Two with VTL phono, preamp, amplifiers, dCS DAC, and VPI turntable with Lyra cartridge.

Best Sound (for-the-money): The full Yamaha Flagship HelloFi Series 5000 system. While the price was greater than some lower-priced choices on the present, this was the very best sounding system on the lowest price that I heard.

Most Significant Product Introduction: The new and improved Spin-Clean Record Washer equipment for brand spanking new and budding vinyl playback audiophiles to begin cleansing their records.

 Most Significant Trend: Diversity at AXPONA 2023. I noticed extra children, girls, and folks of shade than at earlier reveals. The present organizers are increasing their attain. This is an efficient factor for the business and our interest.

Most Coveted Product(s): Gauder Akustik DARC 200 loudspeakers, SonoruS ATR10 mkII tape participant, and Kalista DreamPlay XC SACD/CD Player/DAC.

The submit The 2023 AXPONA Show: Andre Jennings on Analog and Digital Sources appeared first on The Absolute Sound.

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2022 Golden Ear: Excel Sound Corporation Hana SL Cartridge

Posted on by Andre Jennings

Excel Sound Corporation Hana SL Cartridge

$750

Around 5 years in the past, I stated that the Hana SL establishes a baseline of efficiency that any cartridge demanding the next value ought to exceed, with none steps backwards in different areas. This looks like it needs to be a easy matter, however the Hana SL makes it a tall order for some higher-priced cartridges, particularly the half about not stepping backwards. At that point, I additionally reported that the Hana SL had an even-handed response throughout the frequency spectrum, traces the grooves very nicely (from low-to-high frequencies), and has a contact of coloration that strikes it ever so barely to the nice and cozy aspect of impartial. Today, the Hana SL continues to impress in system configurations that embrace higher-cost analog entrance ends. At its value level, it’s nonetheless a standout. This cartridge will permit the proprietor to get pleasure from his vinyl playback system whereas offering an anchor for future upgrades of tonearms, turntables, and phonostages. For a cartridge at any value, the Hana SL holds its personal in opposition to the competitors, after which some. Over the years, it has been a simple suggestion, providing low distortion, excessive coherence, wonderful soundstage depth and width, and an uncanny sense of togetherness. It’s nonetheless a keeper.

The submit 2022 Golden Ear: Excel Sound Corporation Hana SL Cartridge appeared first on The Absolute Sound.

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2022 Golden Ear: Excel Sound Corporation Hana SL Cartridge

Posted on by Andre Jennings

Excel Sound Corporation Hana SL Cartridge

$750

Around 5 years in the past, I stated that the Hana SL establishes a baseline of efficiency that any cartridge demanding the next value ought to exceed, with none steps backwards in different areas. This looks like it ought to be a easy matter, however the Hana SL makes it a tall order for some higher-priced cartridges, particularly the half about not stepping backwards. At that point, I additionally reported that the Hana SL had an even-handed response throughout the frequency spectrum, traces the grooves very properly (from low-to-high frequencies), and has a contact of colour that strikes it ever so barely to the nice and cozy facet of impartial. Today, the Hana SL continues to impress in system configurations that embrace higher-cost analog entrance ends. At its value level, it’s nonetheless a standout. This cartridge will permit the proprietor to get pleasure from his vinyl playback system whereas offering an anchor for future upgrades of tonearms, turntables, and phonostages. For a cartridge at any value, the Hana SL holds its personal towards the competitors, after which some. Over the years, it has been a straightforward advice, providing low distortion, excessive coherence, glorious soundstage depth and width, and an uncanny sense of togetherness. It’s nonetheless a keeper.

The submit 2022 Golden Ear: Excel Sound Corporation Hana SL Cartridge appeared first on The Absolute Sound.

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2022 Golden Ear: Ortofon Verismo Cartridge

Posted on by Andre Jennings

Ortofon Verismo Cartridge

$6999

Sitting squarely in the empty spot between the Windfeld Ti and the top-line MC Diamond cartridge in Ortofon’s Exclusive Series, the company’s newest offering, the Verismo, fills the gap comfortably. Using Ortofon’s Selective Layer Melting (SLM) process, the Verismo’s body is made (layer by layer) of titanium to form a dense and rigid structure with high internal damping. Equipped with Ortofon’s Replicant 100 stylus, Aucurum coils, low-magnetic armature, and field stabilizing element, the Verismo has the added advantage of an upgraded Wide-Range-Damping (WRD) system. (WRD consists of a platinum disc sandwiched between two dissimilar rubber/multiwall-carbon-nanotube absorbers.) The Verismo has also inherited the diamond cantilever formerly only available on its flagship MC cartridge. With the new rubber formulation, WRD provides optimal damping and improved tracking abilities. As a result, the new Verismo tracks and traces grooves effortlessly, while providing an exceptional amount of perceived realism. The Verismo offers up the most truthful evenhandedness and musical transparency that I can recall from this manufacturer, surpassing my previous most-preferred Ortofon, the MC A95. The new rubber compound and diamond cantilever have taken the Verismo to new heights.

The post 2022 Golden Ear: Ortofon Verismo Cartridge appeared first on The Absolute Sound.

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2022 Golden Ear: Ortofon Verismo Cartridge

Posted on by Andre Jennings

Ortofon Verismo Cartridge

$6999

Sitting squarely in the empty spot between the Windfeld Ti and the top-line MC Diamond cartridge in Ortofon’s Exclusive Series, the company’s newest offering, the Verismo, fills the gap comfortably. Using Ortofon’s Selective Layer Melting (SLM) process, the Verismo’s body is made (layer by layer) of titanium to form a dense and rigid structure with high internal damping. Equipped with Ortofon’s Replicant 100 stylus, Aucurum coils, low-magnetic armature, and field stabilizing element, the Verismo has the added advantage of an upgraded Wide-Range-Damping (WRD) system. (WRD consists of a platinum disc sandwiched between two dissimilar rubber/multiwall-carbon-nanotube absorbers.) The Verismo has also inherited the diamond cantilever formerly only available on its flagship MC cartridge. With the new rubber formulation, WRD provides optimal damping and improved tracking abilities. As a result, the new Verismo tracks and traces grooves effortlessly, while providing an exceptional amount of perceived realism. The Verismo offers up the most truthful evenhandedness and musical transparency that I can recall from this manufacturer, surpassing my previous most-preferred Ortofon, the MC A95. The new rubber compound and diamond cantilever have taken the Verismo to new heights.

The post 2022 Golden Ear: Ortofon Verismo Cartridge appeared first on The Absolute Sound.

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Klaudio KD-ARM-AP12 Tangential Tonearm

Posted on by Andre Jennings

This interesting tonearm is produced by the same Auburn, Washington, company that introduced vinyl fans to the KD-CLN-LP200 Ultrasonic Vinyl Record Cleaner. In development for several years, the KD-ARM combines two types of tonearm designs, linear-tracking and pivoted, in an attempt to provide the benefits of both. 

The Klaudio ’arm is supplied with an automatic ’arm lift that mechanically controls all up/down functions via a button added to a laser-light module. There is also a (user-adjustable) proximity sensor located at the edge of the automatic arm lift that detects when the tonearm reaches the end of a record’s runout groove and automatically raises the ’arm. Options include the choice of either standard nickel-plated or a gold-plated finishes and the selection of tonearm length, either 10.5″ or 12″ (equivalent pivot-to-spindle mounting distances). Regardless of which options you choose, the ’arm’s is price remains the same, $19,999. The model of KD-ARM under review is the KD-ARM-AP-12, with a nickel-plated finish and a 12″ equivalent length.

The KD-ARM arrives in a very well insulated flight-case with dual latches and a carrying handle. Opening the case reveals easily accessible foam cutouts filled with accessories and with the KD-ARM itself. There are two Klaudio detachable headshells (one long and one short) and an azimuth-tool. Also included is a mounting guide, tonearm-alignment tool, laser-tangency tool (and auto-arm-lift control), mounting sleeve with hardware, and tonearm counterweights. 

According to Klaudio, the KD-ARM-AP12 is a true tangential tonearm based on a mechanical design that doesn’t involve the complexity of air bearings. This is achieved via a pivoting base that also glides longitudinally on precise bearings to keep the cartridge stylus tangent along a linear track across the entire record (this tangency is confirmed by means of a laser-light projection device).

The core functional parts of the pivoted linear-tracking assembly are a combination of a dual carbon-fiber ’arm and the sliding ’arm base. This dual-’arm assembly is what keeps the headshell/cartridge/stylus perpendicular to the linear track along the record. However, the dual tonearm’s precise articulation alone is not enough to ensure true linear tracking, since the entire assembly, though perpendicular, still travels along an arc relative to the stylus tip. To keep the stylus tip moving along a linear track instead of in an arc, the KD-ARM has a bearing system at the tonearm base that actuates an inverse arc to counteract the natural arc of the pivoted ’arm, thereby nulling the effect. This combined approach of dual-arm and inverse-arc is the heart of the KD-ARM’s approach to tangential tracking. Based on observation and practical application, the system works very well and performs its function with precision.

Some of the other features of the KD-ARM include an azimuth adjustment for the headshell mount, an ’arm-base bubble-level, an ’arm-base stem-height adjustment, an on-the-fly VTA/SRA tower adjustment, and an integrated bubble-level for tonearm leveling. Because the KD-ARM is essentially a linear-tracking device, there is no anti-skate adjustment.

Klaudio offers a very easy to follow KD-ARM user manual, with text and useful images that step you through the set-up process in five chapters. The first chapter discusses the mounting of the tonearm base (pivot-to-spindle distance, mounting-hole size, mounting-screw locations, ’arm height adjustment, and tonearm handling). The second chapter covers orientation and coarse setting of the KD-ARM (cable attachment, tonearm alignment-tool usage). The third chapter covers stylus alignment and horizontal leveling. Chapter four covers counterweight adjustment, including determining whether add-on weights are needed. The final chapter covers miscellaneous items such as how to use the azimuth-tool test head to level/adjust azimuth, the reference VTA bubble level, ’arm lift platform adjustment, and an ’arm guide-pin repositioning procedure, if needed.

In addition to Klaudio’s user manual, there are a several official YouTube video links on Klaudio’s website that cover certain aspects of the KD-ARM setup, including a visual view of an active KD-ARM installation that is very useful, a cartridge/headshell change/replacement video, a tonearm-drift adjustment video, and a general video of the KD-ARM operation. These videos provide additional information to supplement the user manual.

For initial setup, the Klaudio KD-ARM used in this report was installed with the help of Klaudio President/Owner Peter Cheon. Before Peter arrived with the KD-ARM, we discussed which ’table I would be using and how the ’arm would be mounted. Peter was provided with the necessary information and parameters for the cantilevered armboard adapter that he attached to one of my Basis Debut Vacuum armboards (in this case, the one for a 9″ Graham standard mount was used). The armboard adapter extended the board to the length necessary for the 12″ KD-ARM and provided proper clearance for alignment and mounting. In the end, we used two different armboard adapters. Initially, an aluminum one was installed. Later, Peter sent me a stainless-steel version that allowed a little more VTA-adjustment range. The stainless-steel armboard adapter was the one I used exclusively after it arrived.

To determine which length KD-ARM (10″ or 12″) will mount to a particular turntable, the user should check the mounting template and distances required by Klaudio (and speak or correspond with the ’table manufacturer, if necessary). If the KD-ARM isn’t compatible with the armboard on the ’table, an alternative approach may be necessary. Klaudio manufactures a height-adjustable (3.1″ to 5.1″), freestanding tonearm base (KD-BAS-ARM01) that may allow the use of the KD-ARM in such circumstances. Additionally, Klaudio also makes a height-adjustable (2.4″ to 7.9″) freestanding base (KD-BAS-ARM02) for the laser-tangent tool. If your turntable lacks the space to accommodate the alignment laser (which also incorporates the motorized tonearm lift mechanism), Klaudio offers the KD-BAS-ARM02 ($549), an adjustable-height freestanding base that you position next to the turntable. 

Using the KD-ARM takes little effort beyond what is required for a pivoted ’arm. The big difference is that the headshell doesn’t travel across the record like it does with a standard pivoted tonearm. It travels exactly like a true linear-tracking ’arm. Setting stylus position above the record with the finger lift initially takes a little getting used to but quickly becomes a non-issue. With the auto-lift feature, the press of a button located on the laser-tangent tool lowers or lifts the armrest. When a user wants to stop playing the record before a side ends, the button is pressed again, raising the ’arm/stylus off the record. During the long period (12+ months) I spent evaluating the KD-ARM, the auto-lift feature worked flawlessly, including the end-of-record auto-lift.

Because of the design of the sliding base, it was possible to mount multiple cartridges on both Klaudio headshells and on two Ortofon LH-4000 headshells (the LH-4000 allows azimuth adjustment on the headshell for the cartridge installed). The act of changing a cartridge pre-mounted in its own headshell was a simple matter of removing the current cartridge/headshell, installing the desired cartridge/headshell, turning on the laser-tangent tool, sliding the ’arm base until the stylus was illuminated (verifying proper tangency), setting the tracking force, and adjusting height via the KD-ARM VTA/SRA tower. Since the cartridge was pre-aligned in the headshell during initial installation, the entire process took a couple of minutes to complete, making cartridge/headshell swaps quick, precise, and repeatable.

Usually, pivoted ’arms are said to have more solidity in the bass region. On the other hand, tangential trackers are more apt to trace the groove with less distortion and provide a more effortless and effervescent portrayal of the musical performance. (The reader should take note that these comments are generalities, not absolutes. In this writer’s experience, design and execution, as much as the type of tonearm used, tend to dictate where tonearms land vis-à-vis such generalizations.) 

With that being said, the KD-ARM does a very nice job of allowing cartridges to trace the grooves with ease and has a sonic openness that is quite attractive. On the bass side of the equation, the KD-ARM tends to supply healthier amounts of what’s on the record than the generalities mentioned above would suggest. The sound is very well integrated from top-to-bottom without any areas that stand out or seem to be missing. Each cartridge used during the evaluation (Lyra Atlas SL, Lyra Etna, Lyra Etna SL, van den Hul Colibri XGP, Hana SL, Hana ML) showed its recognizable sonic characteristics.

Let’s take Duke Ellington’s Jazz Violin Session for example. This album features Duke on piano, Svend Asmussen and Stephane Grappelli on violin, and Ray Nance on viola. The entire album fills the room and creates the sensation of a charged space from which the music emerges. The sonics are so captivating that one listens with joy and exuberance. The opening track, “Take the “A” Train” begins with Sam Woodyard filling the stage with cymbals before Duke’s piano gradually enters. With the addition of Grappelli, Smussen, and Nance’s strings, the number turns into a cornucopia of happiness. The timbre of each instrument just sounds so enjoyable (including Ernie Shepard’s bass/scat solo). On the KD-ARM with Atlas SL or Hana SL cartridges, the sound was excellent, and the music’s message of cheerfulness transferred effortlessly. 

The Blue Note Tone Poet Series release of Lou Donaldson’s Mr. Shing-A-Ling [BST 84271] is another very good sounding LP. When listening to “Ode to Billie Joe,” one can’t help but dive right into the music and mentally let go. The addictive groove of Leo Morris’ drums invites rhythmic head-swinging and is soon followed by the equally compelling sounds of Donaldson’s alto sax, Jimmy “Fats” Ponder’s guitar, and Lonnie Smith’s organ. All artists get to play groove-laced solos that add icing to the cake.

Through the KD-ARM with the same cartridges mentioned above, the performance came through with every bit of its soulful groove intact. While both cartridges played well in the KD-ARM, the Atlas was tighter in the bass and more ordered, while the Hana SL was somewhat fuller and looser around the edges. This observation is as expected and reveals that the KD-ARM lets cartridges show their unique qualities.

Shifting to Tracy Chapman’s self-titled album allowed a view into how the KD-ARM processed bass-heavy music. On “Talkin’ Bout A Revolution,” the KD-ARM kept the cartridge stable to the point where there was no audible breakup or congestion during thick instrumental interludes. Chapman’s raw vocals and guitar weaved their way into the music and presented a very nice and unique tone that was quite involving. The bass-heavy track “Fast Car” offered a powerfully dense and full bass line, while remaining delicate throughout the rest of the spectrum. The KD-ARM performed well, allowing the music to stay visceral and spacious, and maintaining excellent guitar separation.

It should be apparent that the albums mentioned in this report were delightful to listen to. The KD-ARM never subtracted from the pleasure of vinyl or hindered what one got out of the LPs. While it didn’t quite match the performance of my Basis SuperArm 9, the KD-ARM performed excellently. Couple its sterling performance with the ability to easily switch headshells (even SPU-type cartridges), and one has a tonearm that is versatile, unique, and very good sounding. If possible, it is surely worth a listen to find out if it fits your system and your needs.

Specs & Pricing

Type: Pivoted tangential-tracking tonearm
Length: 10″ or 12″
Price: $19,999 (10.5″ or 12″, nickel or gold finish)

KLAUDIO
2840 W Valley Hwy N
Auburn, WA 98001
(253) 249-7813
klaudio.com
[email protected]

Associated Equipment:
Analog tape: Otari MTR-10 Studio Mastering (¼” 2-track) tape deck with custom Flux Magnetic Mastering Series repro head and secondary custom tube output stage, Studer A820 Studio Mastering (¼” 2-track) tape deck, ReVox G-36 (¼” 4-track) tape deck
Analog vinyl: Basis Audio Debut Vacuum, Basis Audio 2800 Vacuum ‘tables; Basis Audio SuperArm 9, Basis Audio Vector IV (x2), Graham Phantom III, Klaudio 12″ Tangential tonearm; Lyra Atlas, Lyra Atlas SL, Lyra Etna, Lyra Etna SL, Lyra Titan-i, van den Hul Colibri XGP, Hana SL
Phonostage: The Raptor (Custom), Lamm LP2 Deluxe, Ayre P-5xe, Musical Surroundings Phonomena II+ w/Linear Power Supply
Preamp: Dual Placette Audio Active Linestage, Lamm L1.1 Signature, Lamm L2 Reference
Amp: Custom/Modified solid-state monoblocks
Speaker: Vandersteen Model 3a Signature with dual 2Wq subwoofers and dual SUB THREE subwoofers using M5-HPB high-pass filter, Joseph Audio Pearl 20/20 Graphene
Cables: Assortment of AudioQuest, Shunyata, Tara Labs, Acoustic Research, Cardas, and custom cables
Racks/Accessories: Minus-K BM-1, Neuance shelf, Maple wood shelf, Symposium Ultra, Aurios Pro, Pneuance Audio, Walker Audio, Klaudio RCM, Kirmuss RCM, VPI RCM, Clearaudio Double Matrix Pro RCM
Room: 18′ x 8′ x 43′

The post Klaudio KD-ARM-AP12 Tangential Tonearm appeared first on The Absolute Sound.

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Acoustic Signature Tornado Neo Turntable with TA-2000 Neo Tonearm

Posted on by Andre Jennings

I have had multiple experiences with setting up and/or listening to the original Invictus, Invictus Jr., and Ascona ’tables from German turntable specialist Acoustic Signature. Since then, the company has updated its entire lineup of nine turntables, from the Invictus to the lowest-cost Maximus, in addition to refurbishing its complete tonearm catalog. The word “Neo” is applied to all models in the new series. Briefly, Acoustic Signature says that the across-the-board Neo improvements are an accumulation of at least 25 years of industry experience, along with the present-day implementation of its innovations in areas of vibration control, platter-bearing design, and constrained-layer damping. 

The subjects of this report are the Acoustic Signature Tornado Neo turntable ($7495) with TA-2000 Neo tonearm ($3495). The Tornado is one of three similarly shaped turntables within the full Neo series: the other two are the more costly Hurricane and Typhoon. The Tornado Neo is made of anodized aluminum and is available in silver, black, or a combination (platter/chassis) of the two colors.

The chassis of the Tornado Neo is 1.7″ thick and machined from a single billet of aluminum, including the three-point integrated supports for footers. The chassis is cosmetically machined with outer grooves along the edges to break up the visual appearance and provide a look of three pieces of stacked material, when, in reality, the chassis is a single piece of aluminum. The feet of the Tornado Neo are all adjustable for leveling and also gel-damped to minimize the effect of external vibrations from the support shelf. 

The top of the chassis has a machined recessed area (hidden by the platter when installed) to incorporate what Acoustic Signature calls the “Dura Turn Diamond” bearing, sub-platter, and fully isolated dual-belt-drive AC motor. The main platter is a 1.97″-thick, solid piece of aluminum with four brass damping elements, called Silencers, imbedded 90-degrees apart from their nearest neighbors and evenly spaced at a distance, when viewed from the top of the platter. The platter is supplied with a record mat that adds an additional level of constrained-layer damping; bonded to the underside of the platter is a similar type of material.

The motor used in the Tornado Neo is a dual-coil, 24-pole, AC synchronous model. Acoustic Signature uses the DMC-10 Digital Motor Controller to monitor and custom-adjust the in-phase and in-quadrature (I/Q) drive signals of the motor, automatically stabilizing and further reducing vibrations in real time. The I/Q drive-motor signals involve the use of two sinewaves that have identical frequency and a relative phase shift of 90 degrees. The result of this signal processing and real-time motor-specific adjustment approach is much quieter rotation with reduced vibration (as I’ve also observed in other loosely similar applications), which translates into significantly lower motor noise when subjectively observed or objectively measured.

The Tornado Neo components arrived well packaged and secured between custom-cut layers of high-density foam within a double-boxed container. Once the items were removed from the container (the turntable, motor controller, control unit, accessories, and installation manual), I began the assembly and set-up process. 

Quickly covering this procedure, I set the chassis on a level surface and removed the motor cover-plate as instructed. Next, I leveled the adjustable feet under the chassis and carefully installed the sub-platter with its attached upper portion of the bearing into the lower-bearing section already mounted on the Tornado Neo chassis. Then, I installed the twin belts around the sub-platter and the dual-groove motor pulley. After the motor cover-plate is reinstalled, the main platter is carefully placed on the exposed sub-platter, after ensuring there is no dust or debris in the mounting location that would diminish the turntable’s precision when operating. The motor controller (DMC-10) is then connected to the Tornado Neo via a D-Sub connector cable, which runs from the turntable chassis to any of the three available D-Sub connectors on the DMC-10. I chose the “Motor 1” D-Sub connector. The control unit for power on/off and speed selection (33.3/45rpm) gets connected to the DMC-10 via a supplied RJ-45 patch cable at the remote panel-connector identified on the motor controller (as outlined in the manual). The final connection is the 120VAC wall-outlet power cord to the IEC inlet of the motor controller. 

At this point, the manual instructs you to turn on the DMC-10 and use the two buttons on the wired control unit to start/stop the platter rotation and select speed 33.3/45rpm. Additionally, the manual explains that when an LED on the wired control unit is blinking it indicates the target speed is in the process of stabilizing. The LED stops blinking and becomes fully illuminated when the target speed is locked. On the control unit, a green LED indicates 45rpm, while a red LED indicates 33.3rpm. No LED illumination on the control unit indicates that the platter is inactive. The wired control unit can be placed in any location the user prefers for ease of use (within the limits of the connecting-cable length). I ended up with the control unit placed partially under the front of the Tornado Neo below the label and out far enough for the control buttons to be easily accessed.

The 9″ TA-2000 Neo tonearm was shipped in its own double-boxed package with all the necessary tools and items for installation. The tonearm was set up using the attached SME-style mount. One of three cartridges used was installed and aligned via the supplied alignment tools. Additional documented adjustments available on the TA-2000 Neo include overhang, offset angle, arm height (VTA/SRA), and anti-skate. Azimuth adjustment is also available, but the procedure is not documented in the installation manual. Later in the evaluation, I also completed cartridge-installation adjustments using the more thorough and time-consuming procedure I regularly apply for completeness during an evaluation.

I encountered a small hiccup when using the 5-gram Hana SL cartridge. The TA-2000 Neo specifications list acceptable cartridge balance-weights of 4 grams to 16 grams. Unfortunately, the Hana SL could not be balanced to 2 grams of tracking weight. This brings up the additional consideration needed to properly balance your cartridge. The combination of the cartridge “balance” weight and the required tracking force may be what sets the minimal weight with the cartridge in question. For the Hana SL, the tonearm would not allow the cartridge to reach its intended tracking force. The TA-2000 Neo’s minimal “balance” weight is 4 grams. The Hana SL weighs approximately 5 grams. The tracking force required for proper operation of this cartridge is 2 grams. The result (measured and verified) yields nearly 1 gram of tracking force with the balance weight at its lowest weight setting. In order to use the Hana SL, I had to add a headshell weight to achieve proper tracking force. (Both horizontal and vertical cartridge-resonance-frequency performance parameters were still within the generally accepted 8–12Hz range when completed.) The key takeaway is that the TA-2000 Neo specifications list the cartridge “balance” weight. Therefore, the user should account for the additional tracking force required for the cartridge to be used. The other two cartridges drafted for use during this evaluation (Hana Umami Red and Lyra Etna) worked without issue. [Acoustic Signature now offers a lighter counterweight for low-mass cartridges. —Ed.]

A second problem, while minor, prevented me from using a couple of my phonostages with the TA-2000 Neo’s supplied tonearm cable. The available distance between the left and right RCA connectors used to connect to the phonostage would not allow the supplied tonearm cable to spread far enough apart to complete the input connection on two of the three phonostages I have in-house. Prospective users should check the distance between the phonostage inputs and ensure the supplied (or desired) phono cable will spread far enough apart to make the connections

Once the issues mentioned above were addressed, the Tornado Neo with TA-2000 Neo performed and operated flawlessly during the evaluation period. The primary buttons on the wired control unit for start/stop and speed selection were fully operational and easy to use. Additionally, cueing the tonearm when playing vinyl records was simple and straight-forward.

With the trio of cartridges, the Tornado Neo and TA-2000 Neo produced excellent sound in most cases. The Hana SL displayed the majority of its overachieving performance, as did the outstanding Hana Umami Red and the always first-rate Lyra Etna. The known differences and scaling of performance between the cartridges installed on the Acoustic Signature combo were apparent and observable. 

If nitpicking, the one area where this vinyl playback combination held back the performance of all three cartridges was a wee bit of shaving off of the visceral force and impact of dynamic transients, particularly in the bottom octave. While other admirable performance characteristics in this area were on display, the Tornado Neo didn’t quite capture all that these cartridges are capable of delivering. Regardless, the Tornado Neo and TA-2000 Neo were generally well behaved and very enjoyable to listen to.

Mighty Sam McClain’s album titled Give It Up To Love (AQ-LP1015, AudioQuest Music LP; APB 1015, Analogue Productions LP) serves as a good example of the excellent playback of the Neo combo of Tornado and TA-2000. Both LPs played well and showed most of the power of the bass drum with bass guitar overlay, while both parts of Kevin Barry’s dual guitar playing on overlaid tracks were identifiable in their individual space, as selected at the mixing board for this multitrack, all-analog recording. The combo revealed McClain’s unique and identifiably soulful vocals with plenty of emotion, while the timing of all songs was spot on. Particularly, during the playback of “Too Proud” via either version of the LP listed above, the Acoustic Signature combo exhibited Bruce Katz’s Hammond B-3 organ saturating the soundstage in a steady and controlled, yet fully attention-capturing way. Riding on top of the organ were the sometimes penetratingly dynamic bluesy guitar licks and powerful, but slightly less-intense-than-usual drum whacks, which still sounded impressive. 

The overall spatial presentation on both albums was very good in terms of in-room energy and instrumental clarity. By comparison, APB 1015 pressing showed its characteristic additional warmth and fuller lower register, while the AQ-LP1015 version displayed more clarity and transient speed, and greater openness. The Tornado Neo and TA-2000 Neo combo was capable of delivering the unique characteristics of the individual LPs, while staying true to the performance of the recorded material. Well done.

For a steadfast display of dynamic energy and the ability to unravel complex musical passages, Malcom Arnold’s overture to “Tam o’ Shanter” was selected from two different albums: Witches’ Brew (LSC-2225, Analogue Productions reissue) and Mephisto & Co. (RM-2510, Reference Recordings). The Overture to “Tam o’ Shanter” offers a thrill ride of full-on orchestral power with delicate instrumental details woven within the performance. The music and orchestration gives one a look into the ability of a vinyl playback system to transparently parse, focus, and portray intensity and delicacy, along with the potential emotional roller-coaster ride that is available with such performances. With a capable cartridge and phonostage, the Acoustic signature combo proved to be up to the task of satisfying all criteria.

Both album versions of this overture (different orchestras, conductors, locations, and recording equipment) had nearly identical overall timing, yet provided appropriately unique sound signatures when played back with the Tornado Neo and TA-2000 Neo. The Witches’ Brew LP had a more forward presentation with additional upper-midrange emphasis (think strings, woodwind, brass, and non-bass percussion), while maintaining excellent clarity and dynamic agility. Timing and pacing, as presented by the combo, were as good as expected and proved to be a conduit for a bundle of energy when called upon. The Mephisto & Co. version of “Tam o’ Shanter” presented additional fullness and power in the lower registers of all instruments (especially in the bass region), while maintaining the rhythmic pacing of the performance. Energy was excellent, tilting a good bit towards the lower register of any instrument used during reproduction. This contrast is normal for these recordings and consistent on any of the playback systems I have in-house. The Tornado Neo and TA-2000 Neo combo reproduced the expected differences in these performances with relative ease.

With an already solid construction supported by the Neo advancements that Acoustic Signature has implemented across the board on all products, the Tornado Neo and TA-2000 Neo provided near-exceptional performance in its price class along with countless hours of musical enjoyment.

Specs & Pricing

Tornado Neo
Type: Belt-driven turntable
Motor: AC synchronous
Drive system: RPM-regulated double-belt drive with speed fine adjustment for the sub-platter
Tonearm base: Up to 3 (one supplied)
Dimensions: 17.8″ x 6.26″ x 18.1″
Weight: 58.4 lbs.
Price: $7495

TA-2000 Neo
Type: 9″ tonearm
Pivot to Spindle Distance: 222mm
Effective length: 239.3mm
Effective mass: 9.6 grams
Price: $3495

ACOUSTIC SIGNATURE
AS-Distribution GmbH
Hillenbrand Strasse 10
73079 Suessen
Germany
+49 7162 207 97 0
[email protected]
acoustic-signature.com

RUTHERFORD AUDIO (U.S. Distributor)
14 Inverness Drive East
Unit G-108
Englewood CO 80112
(888) 279-6765
[email protected]
rutherfordaudio.com

Associated Equipment
Analog tape: Otari MTR-10 Studio Mastering (¼” 2-track) tape deck with custom Flux Magnetic Mastering Series repro head and secondary custom tube output stage, Studer A820 Studio Mastering (¼” 2-track) tape deck (x2), Studer A80VU MKII Studio Mastering (¼” 2-track) tape deck, Stellavox SP7 (¼” 2-track) tape deck with ABR large-reel adapter, ReVox G-36 (¼” 4-track) tape deck
Analog vinyl: Basis Audio Debut Vacuum with Synchro-Wave Power Supply, Basis Audio 2800 Vacuum ‘tables; Basis Audio SuperArm 9, Basis Audio Vector IV (x2), Graham Phantom III tonearms; Lyra Atlas, Lyra Atlas SL, Lyra Etna, Lyra Etna SL, Lyra Titan-i, van den Hul Colibri XGP, Hana SL, Hana Umami Red cartridges
Phonostage: The Raptor (custom), Ayre P-5xe, Musical Surroundings Phonomena II+ w/Linear Charging Power Supply
Preamp: Dual Placette Audio Active linestage
Amp: Custom/modified solid-state monoblocks
Speaker: Vandersteen Model 3a Signature with dual 2Wq subwoofers and dual Sub Three subwoofers using M5-HPB high-pass filter
Cables: Assortment of AudioQuest, Shunyata, Tara Labs, Acoustic Research, Cardas, and custom cables.
Racks/accessories: Minus-K BM-1, Neuance shelf, Maple wood shelf, Symposium Ultra, Aurios Pro, Pneuance Audio, Walker Audio, Klaudio RCM, Kirmuss RCM, VPI RCM, Clearaudio Double Matrix Professional Sonic RCM
Room: 18′ x 8′ x 43′

The post Acoustic Signature Tornado Neo Turntable with TA-2000 Neo Tonearm appeared first on The Absolute Sound.

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