Author Archives: Neil Gader

Uncategorized

Roksan Attessa Streaming Amplifier

Posted on by Neil Gader

Not way back, the enchantment of built-in amps was, let’s assume, low. The phase had turn into “usual, usual,” missing innovation and the newest options. Part of its decline in recognition was because of the lure of dwelling theater, 4K streaming video, and multichannel, which moved consumers into the AV receiver/processor wing of electronics. But because the expression goes, what goes round comes round. Ultimately the excessive finish discovered its manner again to integrateds. Demographics have been altering; empty nesters have been downsizing into smaller houses in addition to smaller-footprint audio techniques. The very definition of the built-in amplifier was additionally evolving. Once high-resolution streaming went from novelty to mainstream, a brand new phase of built-in was born. DACs, typically bundled with network-streaming functionality, discovered their manner into the chassis. That, coupled with vinyl’s comeback and the explosion in private listening, have made as we speak’s built-in amps cooler and extra sensible than ever. They are one-box options like by no means earlier than.

Which brings me to the Roksan Attessa streaming amplifier—an 80Wpc amp that absolutely embodies the place as we speak’s market lives and, at $3399, is sort of thrifty by as we speak’s inflationary requirements. Attessa is an all-new in-house design—Roksan’s first with built-in DAC plus network-streaming functionality. Handsome however discreetly so, its low-slung entrance panel makes it a straightforward slot in even modestly sized dens. It options strong plate-steel and aluminum development, and a machined anodized-aluminum entrance panel. A big round quantity/enter management dominates the middle of that entrance panel, the place there are not any apparent pushbuttons. For those that lengthy for the old-timey, analog really feel of knobs, toggles, and rocker switches…effectively, you’re out of luck. In their place is an illuminated, horizontal, orange-LED strip (harking back to a MacBook Pro’s touchbar) that runs throughout the middle of the panel and signifies enter sources on the left and quantity increments on the best. Personally, given a alternative, I’d have most well-liked an illuminated numerical scale to point quantity quite than a fader-style graphic, however I’m most likely within the minority. At the best finish of the facia is a 3.5mm stereo mini-jack headphone socket, whose 7.5Vrms output is appropriate for all however probably the most finicky headgear.

Stepping round to the again panel, there’s a enough number of digital and analog connections, with two optical and two coaxial digital inputs, provisions for 2 USB thumb drives, a pair of analog inputs, plus a moving-magnet phonostage. The phono setting is a regular 47k ohm/56pf, and there are three achieve settings to accommodate cartridges with outputs from 3–12mV. The in-house designed DAC part resolves to 24-bit/192kHz for the coax inputs and 24-bit/96kHz for optical. The SPDIF inputs will decode MQA-encoded PCM streams, together with MQA CDs performed again by the non-obligatory companion Attessa CD transport. It helps a lot of the acquainted hi-res streaming-audio codecs and providers.

Roksan Attessa Streaming Amplifier rear

Embrace the App

Setup was only a free downloadable app away—on this case, MaestroUnite, a set-up app that companions with Roksan’s different parts, connects to the native Wi-Fi community, and permits the proprietor to configure the amp with its companion CD transport to function as a single unit. Further, there’s on-the-fly management of Roksan’s built-in options like enter configuration, headphone sensitivity, analog enter achieve, stability, and low-power standby (in addition to over-the-air updates).

For day-to-day use, the really useful smartphone-based, BluOS controller app was, certainly, the way in which to go, particularly for those who do lots of sourcing from any one of many main high-resolution streaming providers (I’m you Tidal and Qobuz), or a shared music library, USB drives, Internet radio stations, or podcasts. It’s a straightforward app to navigate, and pretty intuitive after a couple of minutes of familiarization. Guided by its graphical interface and haptic suggestions, I discovered that choosing my listening quantity and enter supply quickly grew to become second nature. Conveniently, there are three BluOS presets immediately out there from the inputs listing for straightforward accessibility. As a streaming jukebox, the BluOS app was greater than as much as the duty. However, I used to be nonetheless glad to have the hand held distant management close by for widespread capabilities like elevating or reducing quantity and mute.

In an amplifier phase the place three-figure energy scores are extra typically the norm, Attessa’s 80Wpc score shouldn’t be an particularly excessive quantity. But inform that to my 83dB delicate ATC SCM20s. They couldn’t have been happier being pushed by Attessa. Believe me, they’re recognized to get a bit cranky when not fed enough high-quality energy. But wattage scores, as many people know, are actually solely a part of the story. Amps with considerably larger scores than Attessa won’t essentially sound higher and even pretty much as good—they solely “learn” extra highly effective on the web page. Like the road goes, not all watts are created equal.

This is all a roundabout manner of claiming that Attessa is one rocking amp with excessive capabilities. Throughout this analysis it was a completely shaped performer and a glitch-free workhorse in my system, with no new-amp “teething” issues to talk of, particularly commendable in a freshly minted design. In sonic efficiency it registered excessive scores throughout all genres of music with most each recording it encountered. It was grain-free and non-edgy and wasn’t apt to shade or highlight explicit frequency bands or overcook harmonics or treble info. Baritone or soprano, every sounded precisely the way in which nature supposed. It maintained a ripe and pure midrange, a agency and managed bass, and a easy if barely dry treble. I wouldn’t characterize the sound of Attessa as laid-back, nor was it overly cool or scientific. There was a spotless readability to each notice. Listen to Mary Travers’ wistful vocal throughout “500 Miles” from PP&M’s eponymous album Peter, Paul & Mary, and also you’ll know what I imply. There was orchestral heat, typically in abundance, however solely when it was current on the recording. I’m significantly delicate to the presence of low-level noise clinging like contrails to delicate and decaying piano notes and harmonics. Attessa was remarkably freed from this artifact. What it couldn’t absolutely convey was the rosy blush of harmonic element and air of an upper-tier, tube-hybrid built-in like Aesthetix’s Mimas.

The Attessa was particularly spectacular imparting dynamic power in each the macro and micro senses; transient info by no means grew weak-kneed within the face of enormous dynamic swings. A much less noteworthy amp will flatten and easy these transitions, as if appearing like a recording-studio compressor and limiter. This doesn’t occur within the acoustic of the live performance corridor; each instrument from the triangle to the tuba is reproduced in full voice, correctly.

Given that my LP rig was “off-line” for many of this analysis interval resulting from a manufacturing unit restoration of my SME Series V tonearm, I didn’t spend a lot time with the Attessa’s phonostage enter, however the time I did spend was greater than worthwhile. It has selectable achieve and carried out quietly and with stability and conviction. The Clearaudio Charisma V2 I used to be utilizing has a reasonably easing going 3.6mV output, so noise was not an issue. The acquainted Charisma sound was reproduced in abundance. On a monitor like “Someone in a Tree” from Stephen Sondheim’s Pacific Overtures, there have been the acquainted hints of heat, zero etch or grain, and superior imaging and placement of the singers throughout the stage. Channel separation was superb, too. Imaging was not particularly dimensional, nevertheless. On a monitor like Rutter’s “Lux Aeterna,” there was not lots of depth on the soprano, and the depth and acoustic of the corridor appeared a bit shortened—a generalized soundstage in contrast with a top-notch reference built-in just like the Aesthetix.

For digital efficiency, I threw one Tidal playlist after one other on the Attessa, ready to journey it up, to seek out its weak point. I even despatched the digital sign from my dCS Puccini to let the Attessa’s DAC take the reins. That trip-up by no means occurred. The Roksan’s DAC part is, uh, Rok-solid. Comparing my reference Lumin S1 media participant to the Attessa DAC, there was little in the way in which of a sonic letdown. The Lumin owned soundstaging and three-dimensionality from the outset. Its hotter, analog-like character contrasted with Attessa’s drier, much less ethereal persona. But when it got here all the way down to imaging precision, tonal stability, and textural complexity, the competition was lots nearer. With the Lumin greater than triple the worth of a whole Attessa kaboodle, this shut competitors ought to make any Roksan proprietor glad with a savvy shopping for choice.

An fascinating aspect notice. Roksan was based in 1985 and bought by British loudspeaker producer Monitor Audio Ltd in 2016. The Attessa Series parts are post-acquisition developments, and Roksan has acknowledged that will probably be refining present merchandise and producing new ones. These developments, together with Monitor Audio’s high-quality status in loudspeakers, ought to augur effectively for forthcoming, system-wide synergies. Indeed, the Roksan Attessa turned out to be an actual sleeper. Looks, ergonomics, and efficiency—lots of items should fall into place to efficiently convey collectively digital and analog sections, subtle software program, plus Wi-Fi and community functionality. It’s no small activity, however with Attessa Roksan has absolutely met the problem after which some. At $3399 all-in, the Attessa is probably going the one to beat in a hotly aggressive division. Highly really useful.

Specs & Pricing

Power: 80Wpc into 8 ohms, 130Wpc into 4 ohms
Digital inputs: 2x optical, as much as 96kHz/24bit; 2x coax SPDIF as much as 32-bit/192kHz
Analog inputs: 2x RCA, mm phono
Outputs: 1pr. RCA analog (pre-out/SUB)
Supported audio codecs: MP3, AAC, WMA, OGG, WMA-L, ALAC, OPUS, MQA, FLAC, WAV, AIFF, helps transformed DSD playback through the BluOS desktop app (solely) as much as 24 bit/192kHz
Dimensions: 17″ x 3″ x 14.75″
Weight: 23 lbs.
Price: $3399

KEVRO INTERNATIONAL
902 McKay Road, Unit #4
Pickering, ON L1W 3X8
Canada
(800) 667-6065
kevro.com

The publish Roksan Attessa Streaming Amplifier appeared first on The Absolute Sound.

Posted in Uncategorized
World News

Roksan Attessa Streaming Amplifier

Posted on by Neil Gader

Not way back, the attraction of built-in amps was, let’s assume, low. The phase had change into “usual, usual,” missing innovation and the most recent options. Part of its decline in recognition was because of the lure of dwelling theater, 4K streaming video, and multichannel, which moved patrons into the AV receiver/processor wing of electronics. But because the expression goes, what goes round comes round. Ultimately the excessive finish discovered its method again to integrateds. Demographics have been altering; empty nesters have been downsizing into smaller houses in addition to smaller-footprint audio programs. The very definition of the built-in amplifier was additionally evolving. Once high-resolution streaming went from novelty to mainstream, a brand new phase of built-in was born. DACs, usually bundled with network-streaming functionality, discovered their method into the chassis. That, coupled with vinyl’s comeback and the explosion in private listening, have made right this moment’s built-in amps cooler and extra sensible than ever. They are one-box options like by no means earlier than.

Which brings me to the Roksan Attessa streaming amplifier—an 80Wpc amp that totally embodies the place right this moment’s market lives and, at $3399, is nearly thrifty by right this moment’s inflationary requirements. Attessa is an all-new in-house design—Roksan’s first with built-in DAC plus network-streaming functionality. Handsome however discreetly so, its low-slung entrance panel makes it a straightforward slot in even modestly sized dens. It options sturdy plate-steel and aluminum development, and a machined anodized-aluminum entrance panel. A big round quantity/enter management dominates the middle of that entrance panel, the place there aren’t any apparent pushbuttons. For those that lengthy for the old-timey, analog really feel of knobs, toggles, and rocker switches…properly, you’re out of luck. In their place is an illuminated, horizontal, orange-LED strip (paying homage to a MacBook Pro’s touchbar) that runs throughout the middle of the panel and signifies enter sources on the left and quantity increments on the precise. Personally, given a alternative, I’d have most well-liked an illuminated numerical scale to point quantity somewhat than a fader-style graphic, however I’m most likely within the minority. At the precise finish of the facia is a 3.5mm stereo mini-jack headphone socket, whose 7.5Vrms output is appropriate for all however essentially the most finicky headgear.

Stepping round to the again panel, there’s a enough number of digital and analog connections, with two optical and two coaxial digital inputs, provisions for 2 USB thumb drives, a pair of analog inputs, plus a moving-magnet phonostage. The phono setting is a typical 47k ohm/56pf, and there are three acquire settings to accommodate cartridges with outputs from 3–12mV. The in-house designed DAC part resolves to 24-bit/192kHz for the coax inputs and 24-bit/96kHz for optical. The SPDIF inputs will decode MQA-encoded PCM streams, together with MQA CDs performed again by the non-obligatory companion Attessa CD transport. It helps a lot of the acquainted hi-res streaming-audio codecs and companies.

Roksan Attessa Streaming Amplifier rear

Embrace the App

Setup was only a free downloadable app away—on this case, MaestroUnite, a set-up app that companions with Roksan’s different elements, connects to the native Wi-Fi community, and permits the proprietor to configure the amp with its companion CD transport to function as a single unit. Further, there’s on-the-fly management of Roksan’s built-in options like enter configuration, headphone sensitivity, analog enter acquire, stability, and low-power standby (in addition to over-the-air updates).

For day-to-day use, the really helpful smartphone-based, BluOS controller app was, certainly, the way in which to go, particularly for those who do plenty of sourcing from any one of many main high-resolution streaming companies (I’m taking a look at you Tidal and Qobuz), or a shared music library, USB drives, Internet radio stations, or podcasts. It’s a straightforward app to navigate, and pretty intuitive after a couple of minutes of familiarization. Guided by its graphical interface and haptic suggestions, I discovered that deciding on my listening quantity and enter supply quickly turned second nature. Conveniently, there are three BluOS presets straight out there from the inputs checklist for simple accessibility. As a streaming jukebox, the BluOS app was greater than as much as the duty. However, I used to be nonetheless glad to have the hand held distant management close by for widespread capabilities like elevating or reducing quantity and mute.

In an amplifier phase the place three-figure energy scores are extra usually the norm, Attessa’s 80Wpc score will not be an particularly excessive quantity. But inform that to my 83dB delicate ATC SCM20s. They couldn’t have been happier being pushed by Attessa. Believe me, they’re recognized to get a bit cranky when not fed enough high-quality energy. But wattage scores, as many people know, are actually solely a part of the story. Amps with considerably increased scores than Attessa is not going to essentially sound higher and even nearly as good—they solely “learn” extra highly effective on the web page. Like the road goes, not all watts are created equal.

This is all a roundabout method of claiming that Attessa is one rocking amp with excessive capabilities. Throughout this analysis it was a totally fashioned performer and a glitch-free workhorse in my system, with no new-amp “teething” issues to talk of, particularly commendable in a freshly minted design. In sonic efficiency it registered excessive scores throughout all genres of music with most each recording it encountered. It was grain-free and non-edgy and wasn’t apt to shade or highlight explicit frequency bands or overcook harmonics or treble info. Baritone or soprano, every sounded precisely the way in which nature meant. It maintained a ripe and pure midrange, a agency and managed bass, and a easy if barely dry treble. I wouldn’t characterize the sound of Attessa as laid-back, nor was it overly cool or medical. There was a spotless readability to each word. Listen to Mary Travers’ wistful vocal throughout “500 Miles” from PP&M’s eponymous album Peter, Paul & Mary, and also you’ll know what I imply. There was orchestral heat, typically in abundance, however solely when it was current on the recording. I’m notably delicate to the presence of low-level noise clinging like contrails to delicate and decaying piano notes and harmonics. Attessa was remarkably freed from this artifact. What it couldn’t totally convey was the rosy blush of harmonic element and air of an upper-tier, tube-hybrid built-in like Aesthetix’s Mimas.

The Attessa was particularly spectacular imparting dynamic vitality in each the macro and micro senses; transient info by no means grew weak-kneed within the face of huge dynamic swings. A much less noteworthy amp will flatten and easy these transitions, as if appearing like a recording-studio compressor and limiter. This doesn’t occur within the acoustic of the live performance corridor; each instrument from the triangle to the tuba is reproduced in full voice, accurately.

Given that my LP rig was “off-line” for many of this analysis interval as a consequence of a manufacturing facility restoration of my SME Series V tonearm, I didn’t spend a lot time with the Attessa’s phonostage enter, however the time I did spend was greater than worthwhile. It has selectable acquire and carried out quietly and with stability and conviction. The Clearaudio Charisma V2 I used to be utilizing has a reasonably easing going 3.6mV output, so noise was not an issue. The acquainted Charisma sound was reproduced in abundance. On a monitor like “Someone in a Tree” from Stephen Sondheim’s Pacific Overtures, there have been the acquainted hints of heat, zero etch or grain, and superior imaging and placement of the singers throughout the stage. Channel separation was excellent, too. Imaging was not particularly dimensional, nonetheless. On a monitor like Rutter’s “Lux Aeterna,” there was not plenty of depth on the soprano, and the depth and acoustic of the corridor appeared a bit shortened—a generalized soundstage in contrast with a top-notch reference built-in just like the Aesthetix.

For digital efficiency, I threw one Tidal playlist after one other on the Attessa, ready to journey it up, to search out its weak spot. I even despatched the digital sign from my dCS Puccini to let the Attessa’s DAC take the reins. That trip-up by no means occurred. The Roksan’s DAC part is, uh, Rok-solid. Comparing my reference Lumin S1 media participant to the Attessa DAC, there was little in the way in which of a sonic letdown. The Lumin owned soundstaging and three-dimensionality from the outset. Its hotter, analog-like character contrasted with Attessa’s drier, much less ethereal character. But when it got here all the way down to imaging precision, tonal stability, and textural complexity, the competition was so much nearer. With the Lumin greater than triple the value of a whole Attessa kaboodle, this shut competitors ought to make any Roksan proprietor happy with a savvy shopping for resolution.

An attention-grabbing aspect word. Roksan was based in 1985 and purchased by British loudspeaker producer Monitor Audio Ltd in 2016. The Attessa Series elements are post-acquisition developments, and Roksan has acknowledged that it will likely be refining present merchandise and producing new ones. These developments, together with Monitor Audio’s effective status in loudspeakers, ought to augur properly for forthcoming, system-wide synergies. Indeed, the Roksan Attessa turned out to be an actual sleeper. Looks, ergonomics, and efficiency—plenty of items should fall into place to efficiently convey collectively digital and analog sections, subtle software program, plus Wi-Fi and community functionality. It’s no small process, however with Attessa Roksan has totally met the problem after which some. At $3399 all-in, the Attessa is probably going the one to beat in a hotly aggressive division. Highly really helpful.

Specs & Pricing

Power: 80Wpc into 8 ohms, 130Wpc into 4 ohms
Digital inputs: 2x optical, as much as 96kHz/24bit; 2x coax SPDIF as much as 32-bit/192kHz
Analog inputs: 2x RCA, mm phono
Outputs: 1pr. RCA analog (pre-out/SUB)
Supported audio codecs: MP3, AAC, WMA, OGG, WMA-L, ALAC, OPUS, MQA, FLAC, WAV, AIFF, helps transformed DSD playback by way of the BluOS desktop app (solely) as much as 24 bit/192kHz
Dimensions: 17″ x 3″ x 14.75″
Weight: 23 lbs.
Price: $3399

KEVRO INTERNATIONAL
902 McKay Road, Unit #4
Pickering, ON L1W 3X8
Canada
(800) 667-6065
kevro.com

The publish Roksan Attessa Streaming Amplifier appeared first on The Absolute Sound.

Uncategorized

IsoAcoustics zaZen II Isolation Platform

Posted on by Neil Gader

An audio buddy as soon as gave me recommendation about caring for A/V elements. It was one thing to the impact that “electronics don’t wish to be disturbed—simply put them the place you need them and depart them alone.” Sure, I get it. Anything crammed with circuitry and bunches of delicate elements by no means likes to be bumped, jostled, dropped, or in any other case. Beyond that, nevertheless, we now perceive that this “don’t contact” steering applies on the micro-level, as nicely. Thus, as we speak, the virtues of element isolation and stability have been nicely established. External or inside components like acoustic resonances, airborne vibrations, or mechanisms similar to CD transports or turntable motors can disturb the sign and are anathema to greatest efficiency. Think of it this manner: Physically supporting an audio system is somewhat like constructing any construction—a room, a house. To the extent that its basis is weak or substandard, all the things that follows goes to be impacted negatively.

This is the place the specialty merchandise of IsoAcoustics are available in. Based in Ontario, Canada, IsoAcoustics designs merchandise throughout all ranges and value factors and at present sells in over 70 international locations. There are platforms for each audio system and subs, plus numerous footers, turntable isolators, and supporting equipment that run the gamut. Easily, essentially the most fundamental design is the tried-and-true isolation platform.

The zaZen isolation platforms are among the many newest choices to affix the IsoAcoustics line, and so they symbolize a ground-floor resolution in a section the place the sky is the restrict. ZaZen is offered in two sizes: the zaZen I ($199), with a weight capability of 25 kilos; and the zaZen II ($229), which handles as much as 40 kilos. Using a mixture of mass and IsoAcoustics’ isolation expertise, zaZen supplies a steady, low-profile platform with a low noise flooring, designed for turntables and audio elements. ZaZen encompasses a medium gloss black end over a heavy fiber development The platform may be very dense and, in response to IsoAcoustics, accommodates no voids, making it a really perfect acoustic materials for the job at hand.

Its footers use isolation expertise derived from the top-tier OREA and GAIA collection, tuned to work inside particular weight ranges. They are made from a resilient elastomer and embrace a prime and backside isolator linked with a connector. Their efficiency, in IsoAcoustics’ phrases, “is a perform of how the three elements work collectively and the traits of the supplies we use—the durometer (hardness) property, the viscoelastic properties, and the fabric thickness and form. There is a small concave space within the backside of the isolator that gives a suction-cup connection to smoother surfaces.” The isolators usually are not adjustable, so the duty falls on the proprietor to verify the supporting floor beneath the zaZen II is degree.

During this analysis, I gathered my impressions utilizing elements that included the Aesthetix Mimas tube-hybrid built-in amp (with elective phono module), Parasound JC 3+ phonostage, and the dCS Puccini disc participant. Cutting proper to the chase, the zaZen II didn’t have an effect on system tonality or skew frequency response in a single course or the opposite. Its results had been extra refined however immediately perceivable. Overall stability per se remained the identical, however the zaZen II did make clear and hone the notion of particulars by including only a shade extra distinction and sharper focus and, to a lesser extent, by firming up bass response.

In specific, the orchestral soundstage expanded wider with the ethereal fullness of ambient info. As I listened to Appalachian Journey, which options the crossover string trio of Yo Ma, Edgar Meyer, and fiddler Mark O’Connor, I famous that the gamers appeared to snap into place with larger fixity and fewer variability. I heard a discount within the tendency of photographs to  continually “hunt” for place on the soundstage. I used to be significantly impressed by the best way the zaZen II steadied and centered giant teams of choral singers, whereas additionally permitting larger individuation of voices. There was discernably much less congestion and crowding of photographs, which allowed for somewhat extra bloom. The IsoAcoustics additionally helped to take away a little bit of looseness, tightening the assault of orchestral kettle drums and jazz or rock drum kits. Even the radiating fullness and resonances of a piano soundboard appeared to realize the next diploma of decision and maintain.

How does the zaZen II stack as much as state-of-art-isolation like my Critical Mass Systems four-tier Sotto Voce gear rack? Keeping in thoughts that zaZen II is proscribed to comparatively small, light-weight elements, it nonetheless fared remarkably nicely. In comparability to the CMS, it couldn’t fairly confer the load or elicit the deepest background silences that underpin large-scale orchestral recordings or huge bands, however on key points like picture stability and low-level resolving energy the zaZen II gave this listener greater than a glimpse of the transparency that clever isolation can impart.

On shelf or sideboard, the IsoAcoustics zaZen II will combine virtually invisibly with the décor of an current den or front room. Visually low-impact, however sonically high-achieving, it supplied a superb basis for smaller finances techniques. The main takeaway: zaZen’s steadying affect allowed extra of the fruits of a musical recording to be revealed and loved.

In conclusion, merchandise just like the IsoAcoustics zaZen II are a reminder of simply how far you’ll be able to go within the excessive finish with out betting the farm. Unreservedly beneficial.

Specs & Pricing

Dimensions: 17″ x 1.4″ x 15.9″
Price: $229

ISOACOUSTICS INC.
39 Main Street North, Unit 5
Markham, ON, Canada L3P 1X3
(905) 294-4672
isoacoustics.com

The submit IsoAcoustics zaZen II Isolation Platform appeared first on The Absolute Sound.

World News

IsoAcoustics zaZen II Isolation Platform

Posted on by Neil Gader

An audio pal as soon as gave me recommendation about caring for A/V elements. It was one thing to the impact that “electronics don’t prefer to be disturbed—simply put them the place you need them and depart them alone.” Sure, I get it. Anything full of circuitry and bunches of delicate components by no means likes to be bumped, jostled, dropped, or in any other case. Beyond that, nevertheless, we now perceive that this “don’t contact” steering applies on the micro-level, as effectively. Thus, in the present day, the virtues of part isolation and stability have been effectively established. External or inside components like acoustic resonances, airborne vibrations, or mechanisms reminiscent of CD transports or turntable motors can disturb the sign and are anathema to greatest efficiency. Think of it this manner: Physically supporting an audio system is somewhat like constructing any construction—a room, a house. To the extent that its basis is weak or substandard, all the things that follows goes to be impacted negatively.

This is the place the specialty merchandise of IsoAcoustics are available. Based in Ontario, Canada, IsoAcoustics designs merchandise throughout all ranges and worth factors and at the moment sells in over 70 international locations. There are platforms for each audio system and subs, plus varied footers, turntable isolators, and supporting equipment that run the gamut. Easily, probably the most fundamental design is the tried-and-true isolation platform.

The zaZen isolation platforms are among the many newest choices to affix the IsoAcoustics line, and so they symbolize a ground-floor answer in a section the place the sky is the restrict. ZaZen is on the market in two sizes: the zaZen I ($199), with a weight capability of 25 kilos; and the zaZen II ($229), which handles as much as 40 kilos. Using a mix of mass and IsoAcoustics’ isolation expertise, zaZen offers a steady, low-profile platform with a low noise flooring, designed for turntables and audio elements. ZaZen incorporates a medium gloss black end over a heavy fiber development The platform may be very dense and, in accordance with IsoAcoustics, comprises no voids, making it a perfect acoustic materials for the job at hand.

Its footers use isolation expertise derived from the top-tier OREA and GAIA sequence, tuned to work inside particular weight ranges. They are product of a resilient elastomer and embody a high and backside isolator linked with a connector. Their efficiency, in IsoAcoustics’ phrases, “is a perform of how the three components work collectively and the traits of the supplies we use—the durometer (hardness) property, the viscoelastic properties, and the fabric thickness and form. There is a small concave space within the backside of the isolator that gives a suction-cup connection to smoother surfaces.” The isolators aren’t adjustable, so the accountability falls on the proprietor to ensure the supporting floor beneath the zaZen II is stage.

During this analysis, I gathered my impressions utilizing elements that included the Aesthetix Mimas tube-hybrid built-in amp (with elective phono module), Parasound JC 3+ phonostage, and the dCS Puccini disc participant. Cutting proper to the chase, the zaZen II didn’t have an effect on system tonality or skew frequency response in a single path or the opposite. Its results had been extra refined however immediately perceivable. Overall steadiness per se remained the identical, however the zaZen II did make clear and hone the notion of particulars by including only a shade extra distinction and sharper focus and, to a lesser extent, by firming up bass response.

In explicit, the orchestral soundstage expanded wider with the ethereal fullness of ambient info. As I listened to Appalachian Journey, which options the crossover string trio of Yo Ma, Edgar Meyer, and fiddler Mark O’Connor, I famous that the gamers appeared to snap into place with larger fixity and fewer variability. I heard a discount within the tendency of pictures to  consistently “hunt” for place on the soundstage. I used to be notably impressed by the best way the zaZen II steadied and centered massive teams of choral singers, whereas additionally permitting larger individuation of voices. There was discernably much less congestion and crowding of pictures, which allowed for somewhat extra bloom. The IsoAcoustics additionally helped to take away a little bit of looseness, tightening the assault of orchestral kettle drums and jazz or rock drum kits. Even the radiating fullness and resonances of a piano soundboard appeared to realize a better diploma of decision and maintain.

How does the zaZen II stack as much as state-of-art-isolation like my Critical Mass Systems four-tier Sotto Voce tools rack? Keeping in thoughts that zaZen II is proscribed to comparatively small, light-weight elements, it nonetheless fared remarkably effectively. In comparability to the CMS, it couldn’t fairly confer the load or elicit the deepest background silences that underpin large-scale orchestral recordings or huge bands, however on key points like picture stability and low-level resolving energy the zaZen II gave this listener greater than a glimpse of the transparency that clever isolation can impart.

On shelf or sideboard, the IsoAcoustics zaZen II will combine nearly invisibly with the décor of an current den or front room. Visually low-impact, however sonically high-achieving, it supplied a superb basis for smaller price range methods. The main takeaway: zaZen’s steadying affect allowed extra of the fruits of a musical recording to be revealed and loved.

In conclusion, merchandise just like the IsoAcoustics zaZen II are a reminder of simply how far you may go within the excessive finish with out betting the farm. Unreservedly beneficial.

Specs & Pricing

Dimensions: 17″ x 1.4″ x 15.9″
Price: $229

ISOACOUSTICS INC.
39 Main Street North, Unit 5
Markham, ON, Canada L3P 1X3
(905) 294-4672
isoacoustics.com

The submit IsoAcoustics zaZen II Isolation Platform appeared first on The Absolute Sound.

Uncategorized

Sonus faber Omnia

Posted on by Neil Gader

Omnia is Sonus faber’s absolutely self-contained wiremuch less audio system. Designed for comparatively small areas, resembling a comfy den or an workplace, its eye-catching, sculptured design is pure Sonus faber and precisely displays the traditional model of the Italian speaker-maker’s heritage. Where separates will not be possible or stylistically welcome, there’s Omnia.

As its identify implies, Omnia is supplied to perform in a wide range of methods. With its suite of options and configurations, it’s versatile sufficient to be a compact but full audio system. Or if a film calls, it may be conscripted as an amplified soundbar, or it could actually function a companion to a pc desktop system. In a kitchen, a bed room, a seashore home, wherever.

Beneath its long-body 27″ exterior and multi-layer walnut-veneered prime deck is a classy acoustic bundle that comes with a powered, seven-driver, four-way system in a closed-box cupboard. A miracle of inner packaging, its drivers are arrayed with a pair of midranges and tweeters throughout the entrance, a downward-firing aluminum-cone woofer within the heart, and 1.75″ wide-band transducers on the far edges of the cupboard. That’s plenty of firepower.

The system is pushed by a 490W amp. Plus, Omnia is supplied with a brand new key know-how from Sf: the touch-sensitive SensoTM—a tactile, illuminated prime panel which permits direct management and signifies quantity and lively streaming companies by way of its color-coding mode. It’s just a little bewildering to make use of at first, however you’ll get the grasp of it. The identical operations may be accessed by way of an included distant management or a smartphone/pill. Finally and most importantly, there’s CrescendoTM, Sf’s digital sign processing (DSP) system, which mixes a mixture of in-phase bipole and anti-phase dipole sound. Naturally, there’s built-in Chromecast, Bluetooth, and AirPlay2. Plus, Omnia is Roon prepared. There is not any bespoke Omnia management app per se, however the set-up directions reference downloadable management apps like Tidal Connect and Spotify Connect, to entry these standard streaming platforms. In my case, I used the Tidal Connect app—the service’s wonderful, high-resolution, MQA-supported controller. But if streaming and management apps simply ain’t your factor, the switchable line-in/phono enter offers choices for utilizing a CD participant or a turntable. Plus, there’s that helpful distant management for most simple capabilities

Setup was comparatively straightforward, accurately on this phase. Across the back-panel space there are a switchable phono/line enter, an HDMI ARC (two-channel) enter, and an Ethernet enter. Omnia may be optimized to carry out in various acoustic environments, due to room placement choices and modest EQ modes, selectable on the web-based set-up web page. A QR code opens an online browser for superior settings, which permit disabling the loudness maximizer or Crescendo. Also, there are alternatives for room placement close to and away from the backwall. During my analysis, I primarily used the Tidal Connect app from my iPhone.

Ergonomically, there have been a few minor hiccups. The back-panel connectors are buried within the Omnia’s base, making them awkward to entry. The quantity show’s top-panel location reasonably than on the entrance was additionally a demerit.

Omnia could not have been tasked to switch a major audio system; nonetheless, its sonic efficiency urged that Sf designers weren’t keen to surrender an excessive amount of floor both.

With Omnia, the Sf group took a daring abbondanza method, by maximizing use of DSP and woofer tuning to create a high-end-component expertise and to distinguish the Omnia from the lackluster, appliance-like choices from Sonus, Apple, and Google. (An much more probably goal could be Bowers & Wilkins’ Zeppelin). To be certain, Omnia performed loudly, cleanly, and successfully, filling the medium areas in my residence. From a single level within the room, Omnia was largely profitable at conveying an excellent stereo picture and an open sound. In phrases of output, it hit its musical stride at medium ranges however may, in a pinch, play surprisingly loudly with notable readability and focus. Tonally, it had a hotter sound within the midrange and beneath. The higher midbass tended to thicken a bit with rising achieve, however most bass strains and kick-drum figures had been successfully articulated. Ultimately, treble extension was considerably shaded, and it was just a little dry on prime.

But Omnia didn’t lay again, both, sustaining a satisfying ahead power. I discovered better-than-good vocal imaging with each female and male singers. Soloists conveyed some real weight and energy. Solo piano was articulate and full-bodied, though just a little smear of decrease octave piano chords crept in throughout Norah Jones’ cowl of “The Nearness of You.”

Bass impression was surprisingly strong and dynamic—not fairly “slammy” with a capital “S” however compelling, nonetheless. Whether it was orchestral percussion or rock rhythm sections, Omnia greater than delivered.

Bass articulation and transparency could possibly be a bit hit and miss, nevertheless, relying on the recording. For instance, The Beatles’ observe “Let It Be” was prolonged, stable, and tuneful; then again, a well-recognized observe like James Taylor’s “Sweet Baby James” got here throughout with a bit an excessive amount of low-frequency emphasis from Lee Sklar’s electrical bass. Generally talking, I needed to conclude that Omnia tended to be a bit bass-heavy, when pushed.

What Omnia does most successfully is throw a room-filling and immersive soundstage properly previous the boundaries of its cupboard. And it does this with a naturalism and specificity that locations a fairly honest distance between it and the opposite manufacturers that try to painting a dimensional soundstage. The acoustic world it creates is clearly a scaled-back model of that of a big system, but it surely was ear catching, as soon as you bought over the preliminary novelty of the phantasm. As such, orchestral recordings turned fairly musical and interesting, even suggesting components of soundstage replication and part layering.

A fast apart: I’m a component-system audiophile of the “comparatively” old style. I like the method, the ritual, the management of taking part in music. But I’ll freely admit that it was straightforward to be seduced by the charms of sending musical playlists by way of AirPlay from my MacBook Pro straight to Omnia. I felt just a little lazy at first, however my spouse and I rapidly received over that. Convenience may be addictive.

Let’s be clear in regards to the mission for Omnia. It isn’t meant to switch a bespoke part system. But as I found you don’t must dial your sonic expectations all the best way again, both. Omnia’s job is one in every of balancing excessive model, sound, and measurement in a single-piece bundle that first-timers, in addition to long-time admirers of this iconic Italian model, can get pleasure from and be happy with. In these objectives, it succeeds abundantly properly.

Specs & Pricing

Type: Four-way, DSP management, closed-box wi-fi audio system
Drivers: 0.75″ silk-dome tweeters (2); 3″ paper-pulp cone midranges (2), 1.75″ cellulose pulp inverted-dome full-range drivers (2); 6.5″ aluminum-cone woofer (1)
Frequency response: 30Hz–25kHz (–6dB)
Integral amplifier energy: 490W
Inputs: Analog, phono (mm) and line in; HDMI ARC two channel, Ethernet
Dimensions: 5.12″ x 25.6″ x 11″
Weight: 16 lbs.
Price: $1995

MCINTOSH GROUP
214 Lafayette
New York, NY 10012
(504) 558-6739
mcgroupinc.com
sonusfaber.com

The publish Sonus faber Omnia appeared first on The Absolute Sound.

Uncategorized

Sonus faber Omnia

Posted on by Neil Gader

Omnia is Sonus faber’s absolutely self-contained wiremuch less audio system. Designed for comparatively small areas, resembling a comfortable den or an workplace, its eye-catching, sculptured design is pure Sonus faber and precisely displays the basic fashion of the Italian speaker-maker’s heritage. Where separates usually are not possible or stylistically welcome, there’s Omnia.

As its identify implies, Omnia is provided to perform in a wide range of methods. With its suite of options and configurations, it’s versatile sufficient to be a compact but full audio system. Or if a film calls, it may be conscripted as an amplified soundbar, or it could possibly function a companion to a pc desktop system. In a kitchen, a bed room, a seaside home, wherever.

Beneath its long-body 27″ exterior and multi-layer walnut-veneered high deck is a complicated acoustic package deal that includes a powered, seven-driver, four-way system in a closed-box cupboard. A miracle of inner packaging, its drivers are arrayed with a pair of midranges and tweeters throughout the entrance, a downward-firing aluminum-cone woofer within the heart, and 1.75″ wide-band transducers on the far edges of the cupboard. That’s a number of firepower.

The system is pushed by a 490W amp. Plus, Omnia is provided with a brand new key know-how from Sf: the touch-sensitive SensoTM—a tactile, illuminated high panel which permits direct management and signifies quantity and lively streaming companies through its color-coding mode. It’s just a little bewildering to make use of at first, however you’ll get the hold of it. The identical operations will be accessed via an included distant management or a smartphone/pill. Finally and most importantly, there’s CrescendoTM, Sf’s digital sign processing (DSP) system, which mixes a mixture of in-phase bipole and anti-phase dipole sound. Naturally, there’s built-in Chromecast, Bluetooth, and AirPlay2. Plus, Omnia is Roon prepared. There isn’t any bespoke Omnia management app per se, however the set-up directions reference downloadable management apps like Tidal Connect and Spotify Connect, to entry these fashionable streaming platforms. In my case, I used the Tidal Connect app—the service’s wonderful, high-resolution, MQA-supported controller. But if streaming and management apps simply ain’t your factor, the switchable line-in/phono enter supplies choices for utilizing a CD participant or a turntable. Plus, there may be that helpful distant management for most simple features

Setup was comparatively simple, appropriately on this phase. Across the back-panel space there are a switchable phono/line enter, an HDMI ARC (two-channel) enter, and an Ethernet enter. Omnia will be optimized to carry out in various acoustic environments, because of room placement choices and modest EQ modes, selectable on the web-based set-up web page. A QR code opens an internet browser for superior settings, which permit disabling the loudness maximizer or Crescendo. Also, there are alternatives for room placement close to and away from the backwall. During my analysis, I primarily used the Tidal Connect app from my iPhone.

Ergonomically, there have been a few minor hiccups. The back-panel connectors are buried within the Omnia’s base, making them awkward to entry. The quantity show’s top-panel location reasonably than on the entrance was additionally a demerit.

Omnia might not have been tasked to exchange a main audio system; nonetheless, its sonic efficiency urged that Sf designers weren’t keen to surrender an excessive amount of floor both.

With Omnia, the Sf group took a daring abbondanza method, by maximizing use of DSP and woofer tuning to create a high-end-component expertise and to distinguish the Omnia from the lackluster, appliance-like choices from Sonus, Apple, and Google. (An much more doubtless goal can be Bowers & Wilkins’ Zeppelin). To make sure, Omnia performed loudly, cleanly, and successfully, filling the medium areas in my dwelling. From a single level within the room, Omnia was largely profitable at conveying a superb stereo picture and an open sound. In phrases of output, it hit its musical stride at medium ranges however may, in a pinch, play surprisingly loudly with notable readability and focus. Tonally, it had a hotter sound within the midrange and under. The higher midbass tended to thicken a bit with rising achieve, however most bass traces and kick-drum figures have been successfully articulated. Ultimately, treble extension was considerably shaded, and it was just a little dry on high.

But Omnia didn’t lay again, both, sustaining a satisfying ahead power. I discovered better-than-good vocal imaging with each female and male singers. Soloists conveyed some real weight and energy. Solo piano was articulate and full-bodied, though just a little smear of decrease octave piano chords crept in throughout Norah Jones’ cowl of “The Nearness of You.”

Bass impression was surprisingly sturdy and dynamic—not fairly “slammy” with a capital “S” however compelling, nonetheless. Whether it was orchestral percussion or rock rhythm sections, Omnia greater than delivered.

Bass articulation and transparency may very well be a bit hit and miss, nonetheless, relying on the recording. For instance, The Beatles’ monitor “Let It Be” was prolonged, stable, and tuneful; then again, a well-known monitor like James Taylor’s “Sweet Baby James” got here throughout with a bit an excessive amount of low-frequency emphasis from Lee Sklar’s electrical bass. Generally talking, I needed to conclude that Omnia tended to be a bit bass-heavy, when pushed.

What Omnia does most successfully is throw a room-filling and immersive soundstage properly previous the boundaries of its cupboard. And it does this with a naturalism and specificity that locations a reasonably honest distance between it and the opposite manufacturers that try and painting a dimensional soundstage. The acoustic world it creates is clearly a scaled-back model of that of a giant system, but it surely was ear catching, as soon as you bought over the preliminary novelty of the phantasm. As such, orchestral recordings grew to become fairly musical and interesting, even suggesting components of soundstage replication and part layering.

A fast apart: I’m a component-system audiophile of the “comparatively” old fashioned. I like the method, the ritual, the management of taking part in music. But I’ll freely admit that it was simple to be seduced by the charms of sending musical playlists through AirPlay from my MacBook Pro straight to Omnia. I felt just a little lazy at first, however my spouse and I rapidly received over that. Convenience will be addictive.

Let’s be clear concerning the mission for Omnia. It isn’t supposed to exchange a bespoke element system. But as I found you don’t should dial your sonic expectations all the way in which again, both. Omnia’s job is considered one of balancing excessive fashion, sound, and dimension in a single-piece package deal that first-timers, in addition to long-time admirers of this iconic Italian model, can take pleasure in and be pleased with. In these targets, it succeeds abundantly properly.

Specs & Pricing

Type: Four-way, DSP management, closed-box wi-fi audio system
Drivers: 0.75″ silk-dome tweeters (2); 3″ paper-pulp cone midranges (2), 1.75″ cellulose pulp inverted-dome full-range drivers (2); 6.5″ aluminum-cone woofer (1)
Frequency response: 30Hz–25kHz (–6dB)
Integral amplifier energy: 490W
Inputs: Analog, phono (mm) and line in; HDMI ARC two channel, Ethernet
Dimensions: 5.12″ x 25.6″ x 11″
Weight: 16 lbs.
Price: $1995

MCINTOSH GROUP
214 Lafayette
New York, NY 10012
(504) 558-6739
mcgroupinc.com
sonusfaber.com

The submit Sonus faber Omnia appeared first on The Absolute Sound.

World News

Sonus faber Omnia

Posted on by Neil Gader

Omnia is Sonus faber’s absolutely self-contained wiremuch less audio system. Designed for comparatively small areas, similar to a comfy den or an workplace, its eye-catching, sculptured design is pure Sonus faber and precisely displays the basic fashion of the Italian speaker-maker’s heritage. Where separates are usually not possible or stylistically welcome, there’s Omnia.

As its identify implies, Omnia is provided to perform in a wide range of methods. With its suite of options and configurations, it’s versatile sufficient to be a compact but full audio system. Or if a film calls, it may be conscripted as an amplified soundbar, or it could function a companion to a pc desktop system. In a kitchen, a bed room, a seaside home, wherever.

Beneath its long-body 27″ exterior and multi-layer walnut-veneered high deck is a complicated acoustic bundle that includes a powered, seven-driver, four-way system in a closed-box cupboard. A miracle of inside packaging, its drivers are arrayed with a pair of midranges and tweeters throughout the entrance, a downward-firing aluminum-cone woofer within the heart, and 1.75″ wide-band transducers on the far edges of the cupboard. That’s numerous firepower.

The system is pushed by a 490W amp. Plus, Omnia is provided with a brand new key expertise from Sf: the touch-sensitive SensoTM—a tactile, illuminated high panel which permits direct management and signifies quantity and lively streaming providers through its color-coding mode. It’s a little bit bewildering to make use of at first, however you’ll get the dangle of it. The similar operations may be accessed by means of an included distant management or a smartphone/pill. Finally and most importantly, there’s CrescendoTM, Sf’s digital sign processing (DSP) system, which mixes a mixture of in-phase bipole and anti-phase dipole sound. Naturally, there’s built-in Chromecast, Bluetooth, and AirPlay2. Plus, Omnia is Roon prepared. There isn’t any bespoke Omnia management app per se, however the set-up directions reference downloadable management apps like Tidal Connect and Spotify Connect, to entry these standard streaming platforms. In my case, I used the Tidal Connect app—the service’s glorious, high-resolution, MQA-supported controller. But if streaming and management apps simply ain’t your factor, the switchable line-in/phono enter supplies choices for utilizing a CD participant or a turntable. Plus, there’s that helpful distant management for most elementary capabilities

Setup was comparatively straightforward, correctly on this section. Across the back-panel space there are a switchable phono/line enter, an HDMI ARC (two-channel) enter, and an Ethernet enter. Omnia may be optimized to carry out in various acoustic environments, due to room placement choices and modest EQ modes, selectable on the web-based set-up web page. A QR code opens an internet browser for superior settings, which permit disabling the loudness maximizer or Crescendo. Also, there are alternatives for room placement close to and away from the backwall. During my analysis, I primarily used the Tidal Connect app from my iPhone.

Ergonomically, there have been a few minor hiccups. The back-panel connectors are buried within the Omnia’s base, making them awkward to entry. The quantity show’s top-panel location somewhat than on the entrance was additionally a demerit.

Omnia could not have been tasked to interchange a major audio system; nonetheless, its sonic efficiency advised that Sf designers weren’t keen to surrender an excessive amount of floor both.

With Omnia, the Sf staff took a daring abbondanza method, by maximizing use of DSP and woofer tuning to create a high-end-component expertise and to distinguish the Omnia from the lackluster, appliance-like choices from Sonus, Apple, and Google. (An much more doubtless goal could be Bowers & Wilkins’ Zeppelin). To make sure, Omnia performed loudly, cleanly, and successfully, filling the medium areas in my dwelling. From a single level within the room, Omnia was largely profitable at conveying stereo picture and an open sound. In phrases of output, it hit its musical stride at medium ranges however might, in a pinch, play surprisingly loudly with notable readability and focus. Tonally, it had a hotter sound within the midrange and beneath. The higher midbass tended to thicken a bit with rising achieve, however most bass strains and kick-drum figures had been successfully articulated. Ultimately, treble extension was considerably shaded, and it was a little bit dry on high.

But Omnia didn’t lay again, both, sustaining a satisfying ahead vitality. I discovered better-than-good vocal imaging with each female and male singers. Soloists conveyed some real weight and energy. Solo piano was articulate and full-bodied, though a little bit smear of decrease octave piano chords crept in throughout Norah Jones’ cowl of “The Nearness of You.”

Bass impression was surprisingly sturdy and dynamic—not fairly “slammy” with a capital “S” however compelling, nonetheless. Whether it was orchestral percussion or rock rhythm sections, Omnia greater than delivered.

Bass articulation and transparency could possibly be a bit hit and miss, nevertheless, relying on the recording. For instance, The Beatles’ monitor “Let It Be” was prolonged, stable, and tuneful; then again, a well-known monitor like James Taylor’s “Sweet Baby James” got here throughout with a bit an excessive amount of low-frequency emphasis from Lee Sklar’s electrical bass. Generally talking, I needed to conclude that Omnia tended to be a bit bass-heavy, when pushed.

What Omnia does most successfully is throw a room-filling and immersive soundstage properly previous the boundaries of its cupboard. And it does this with a naturalism and specificity that locations a reasonably honest distance between it and the opposite manufacturers that try and painting a dimensional soundstage. The acoustic world it creates is clearly a scaled-back model of that of a giant system, but it surely was ear catching, as soon as you bought over the preliminary novelty of the phantasm. As such, orchestral recordings turned fairly musical and interesting, even suggesting components of soundstage replication and part layering.

A fast apart: I’m a component-system audiophile of the “comparatively” old-fashioned. I like the method, the ritual, the management of enjoying music. But I’ll freely admit that it was straightforward to be seduced by the charms of sending musical playlists through AirPlay from my MacBook Pro straight to Omnia. I felt a little bit lazy at first, however my spouse and I shortly obtained over that. Convenience may be addictive.

Let’s be clear concerning the mission for Omnia. It isn’t supposed to interchange a bespoke element system. But as I found you don’t must dial your sonic expectations all the way in which again, both. Omnia’s job is considered one of balancing excessive fashion, sound, and dimension in a single-piece bundle that first-timers, in addition to long-time admirers of this iconic Italian model, can get pleasure from and be pleased with. In these targets, it succeeds abundantly properly.

Specs & Pricing

Type: Four-way, DSP management, closed-box wi-fi audio system
Drivers: 0.75″ silk-dome tweeters (2); 3″ paper-pulp cone midranges (2), 1.75″ cellulose pulp inverted-dome full-range drivers (2); 6.5″ aluminum-cone woofer (1)
Frequency response: 30Hz–25kHz (–6dB)
Integral amplifier energy: 490W
Inputs: Analog, phono (mm) and line in; HDMI ARC two channel, Ethernet
Dimensions: 5.12″ x 25.6″ x 11″
Weight: 16 lbs.
Price: $1995

MCINTOSH GROUP
214 Lafayette
New York, NY 10012
(504) 558-6739
mcgroupinc.com
sonusfaber.com

The put up Sonus faber Omnia appeared first on The Absolute Sound.

Uncategorized

Factory Visit | DALI to the KORE

Posted on by Neil Gader

Like most profitable companies, the high-end audio business is constructed on relationships. If there’s one factor the previous two-plus years of the COVID-19 pandemic lock-down have taught us, it’s the significance and issue of sustaining these relationships—the connections, the comradery within the absence of commerce reveals, these serendipitous face-to-face encounters, or simply sitting down at dinner and drinks and speaking store. Zoom calls alone had been useful however barely ample. So, after I acquired an invite to go to the DALI loudspeaker manufacturing facility in Denmark, I put apart any worldwide journey issues, dusted off my carry-on, and ready to hit the street. For 4 days in late August, a small band of eight audio journalists (together with me) was reintroduced to the model and acquired a crash course education us in all issues DALI—to not point out a smattering of listening periods thrown in for good measure. This included a deep dive into the event of KORE, the corporate’s first flagship loudspeaker in years.

As one of many foremost loudspeaker corporations within the excessive finish, DALI (initialism for Danish Audiophile Loudspeaker Industries) stays firmly rooted in two-channel audio, and but it additionally produces an array of floorstanding and compact speaker traces (each energetic and passive) that cowl the home-cinema market. Its powered audio system are additionally taking part in an more and more essential function with the youthful demographic. Unlike older audio lovers, the younger’uns desire how unobtrusively powered methods match right into a room—they will start streaming music with simply a few energy cords. Unbeknownst to me earlier than this journey, DALI additionally has an in- and on-wall division, in addition to a custom-installation division (CI).

Founded in 1983, DALI started modestly as a home model for Peter Lyngdorf’s HiFi Klubben empire of audio retailers. Today, DALI maintains workplaces in seven international locations. Most notably, in 2018, Lenbrook Americas, distributor of audio manufacturers NAD Electronics, PSB Speakers, and Bluesound wi-fi merchandise, started distributing DALI in Canada and the United States. (DALI fittingly distributes Lenbrook merchandise in Central Europe.) While DALI has maintained robust worldwide demand within the floorstanding and compact markets, its longer-term targets are to make a stronger affect in CI vis-à-vis the gorilla within the room, Klipsch, and the lesser gorillas, Bowers & Wilkins and KEF. Although China is presently its largest CI market, DALI’s main enterprise technique is to develop the custom-installation and home-theater divisions within the U.S.

Dual voice coil KORE 11.5″ woofer.

Based within the city of Norager on the Jutland peninsula in northern Denmark, DALI is executing its enlargement plans each on and off campus. Our first cease was a tour of a neighborhood furnishings manufacturing facility (in enterprise since 1967) that DALI acquired in 2019. Still specializing in basic Danish furnishings, its experience made potential the enclosure growth of the brand new flagship loudspeaker, KORE. In the long run its cabinetry experience will cut back DALI’s publicity to the supply-side vicissitudes of overseas sub-contractors. The most important manufacturing facility enlargement features a high-tech, robotic lacquer/paint facility. Another current arrival is a 3D scanner and printer—expertise that makes it a lot simpler to fact-check a provider’s prototypes. Automation has made DALI one probably the most environment friendly factories in Denmark.

“Made in Denmark, Made in Europe”

Led by Lars Worre, managing director, and Krestian Pedersen, head of R&D/New Projects, DALI brass emphasised how, in gentle of tenuous supply-chain points and the skyrocketing delivery prices attributable to the pandemic, key strategic points needed to be addressed. Their conclusion was that DALI ought to go in-house as a lot as potential and produce extra gadgets in Denmark and Scandinavia, particularly for higher-end ranges, although entry and mid-priced sequence like Opticon and Rubicon may even now be totally assembled in-house.

Guided by COO Thomas Martin Holm, we had been allowed to poke our noses in just about each well-lighted nook and spotless cranny of the DALI manufacturing facility and warehouse. (Note in regards to the distinctive lighting: DALI is conscious that SADS, [Seasonal Affective Disorder Syndrome] might be a difficulty throughout the shorter daylight of the Danish winter.) The circumstances had been nearly on a “clean-room” stage after I witnessed driver meeting, cones being glued and hand-coated, transducers magnetized, ultimate frequency-response testing, and cupboards polished and ready for delivery.

KORE primary crossover

An enormous motorized blue door led to the cupboard store and the five-axis CNC machines and related lacquering facility. Previously, this manufacturing facility was restricted to vinyl-wrapping cupboard veneers, similar to these within the best-selling Opticon sequence, however high-tech lacquer ending was obligatory for KORE. This new facility turned DALI’s largest funding over the past 4 years. It additionally brings the favored wood-veneered Rubicon sequence again from China to be produced totally in-house, thus minimizing future global-supply shocks. Given that Denmark has a few of the strictest emissions legal guidelines relating to lacquer finishes, DALI employs a UV-curing, zero-solvent lacquer that’s way more eco-friendly—evidenced by the shortage of any robust solvent odors. Curing can also be decreased from a typical eight-week span to little multiple week. The finish result’s a a lot more durable end that has larger resistance to daylight.

Quality-control testing was complete and included energy dealing with, torturous warmth and humidity extremes (–40C to +80C), and a salt-spray take a look at that emulates prolonged ocean-air publicity for DALI merchandise that decision Malibu or Monaco house. The price of those capital investments was not revealed, however little doubt it’s a considerable outlay that ought to and is already yielding advantages to next-generation DALI merchandise. A big gamble? Not in the event you suppose when it comes to the DALI long-term philosophy.

The KORE of the Matter

But this go to is admittedly about two tales. The manufacturing facility tour was prelude to the pièce de résistance—getting up shut and private with DALI’s new top-of-the-line mannequin, KORE. Recently unveiled at Munich High End, KORE is all flagship, DALI-style. It marks the corporate’s return to the ultra-high-end loudspeaker phase. The 4.5-way, five-driver, bass-reflex design required the event of 1200 new elements from scratch and the aforementioned CNC equipment and lacquer cubicles. Its advanced, curvilinear cabinetry additionally explains why DALI required a devoted furnishings manufacturing facility to execute the design. In order to type the curvature of the 17-layer Finnish birch, alternate grain glue-infused enclosure, DALI required a singular wet-heat course of utilized from the skin in and high-frequency heating utilized from the within out. An aluminum-block warmth press was created solely for this function.

KORE final polishing station.

Construction of KORE is plainly on a heroic scale. Heavily braced and compartmentalized, the ensuing enclosure is a 28mm curved laminate, gloss-lacquered in Ammara Ebony veneer with a contrasting textured end. The middle of the baffle consists of a die-cast aluminum and structural thermoset-resin—the composite supplies offering a extremely inflexible platform for the mid and high-frequency drivers. The 75-pound, cement-based, resin-composite plinth leads to a low middle of gravity, offering a strong basis for the speaker’s substantial 353-pound total weight. Final meeting of KORE happens in a devoted space of the manufacturing facility.

The specs converse for themselves. The five-driver array features a pair of 11.5″ woofers, with twin voice coils and a twin-suspension motor system. The honeycomb-sandwich paper-pulp cone diaphragm is bolstered with wooden fibers. The all-new 7″ midrange makes use of a light-weight paper-pulp diaphragm. Its titanium voice-coil former features a new highly effective Balanced Drive SMC (delicate magnetic compound) motor with a neodymium magnet. The proprietary SMC course of creates a motor system that’s free from inherent magnetic losses, thereby reducing harmonic distortion and enhancing dynamics. There’s a redesigned model of DALI’s signature wood-fiber cone, for a extra managed breakup habits, in addition to a slender, low-mass encompass designed to reduce non-linearities. The EVO-Ok hybrid tweeter is an evolution of the DALI hybrid-tweeter module that dates to the Eighties. It combines an oversize 35mm dome and a brand new high-sensitivity model of the 10mm x 15mm ribbon. The ribbon begins rolling in at 10kHz and kicks in totally at 15kHz—primarily working as a super-tweeter. The break up crossover is put in close to the tweeter meeting and within the concrete plinth. It incorporates new SMC-KORE inductors (made by Mundorf, as are the resistors), which applies the SMC expertise to the core materials within the crossover inductors. According to Worre, these inductors decrease present distortion by as much as 12dB.

Listening: The Main Event

Our group listened to KORE in two listening environments—the bigger of the 2 areas was geared up with all NAD digital electronics. Even on this unfamiliar house, KORE was spectacular in scale, dynamic affect, and power-range muscle. Inter-driver coherence was seamless. But I nonetheless discovered its common sonic persona a bit laborious and compelled. Perhaps it was the electronics or the very giant room quantity they needed to fill or the excessive playback volumes that Krestian Pedersen had chosen.

In any occasion, later that day our group decamped to a barely smaller, better-damped, and extra intimate house, the place we had been joined, as soon as once more, by Lars Worre. This setup, a compact-disc entrance finish by a Mola DAC, was pushed by DALI’s personal decades-old Gravity monoblocks—basic pure Class A behemoths that outputted a head-spinning 1500 watts every. Sonically, this was way more like what I used to be anticipating from a state-of-the-art contender from DALI—a lush, barely heat midrange with an intoxicating mix of element and immersion that drew me ever-closer to the music. Scale was formidable, and soundstaging was expansive. Imaging was ultra-stable and targeted however not laser-guided in the best way of a high-performance, bass-restricted mini-monitor. Dynamic gradations had been very finely resolved. Worre warned that achieve ranges wanted to be set with warning, and he wasn’t kidding. As if he had been studying my thoughts, the observe “Lux Aeterna” from Rutter’s Requiem was cued up. I’m very acquainted with this music, having listened to it in dozens of methods, and replica was attractive in each sonic respect, from the breadth of the huge reverberant acoustic, to the load and depth of the wonderful pipe organ, to the effective delineation of voices throughout the refrain.

Although listening time was all too transient, clearly KORE efficiency was according to that of different mega-speakers I’ve skilled. Sonically formidable, sure, however nonetheless approachable. According to Worre, this was in line with the DALI philosophy that, even because it gives a showcase for DALI expertise and innovation, KORE, can truly match the true world and accent a room’s décor with out dwarfing the house. Worre additionally emphasised DALI’s historical past of making use of tried-and-true design ideas—ideas which might be utilized all through the product line to 1 extent or the opposite. Priced at $110,000 per pair, KORE appeared to me a relative discount in immediately’s hyper-expensive ultra-high-end speaker market. I used to be advised that superior orders for KORE have already exceeded expectations.

As I took depart of my gracious hosts, my ultimate takeaway was that DALI is an organization on the transfer, grabbing the initiative and setting its sights on new alternatives, because it leverages its Lenbrook relationship. No one has a crystal ball, however my wager is that DALI’s future has by no means been brighter.

Specs & Pricing

Dali Kore Loudspeaker
Frequency response: 26Hz–34kHz
Nominal impedance: 4 ohms (minimal 3.2 ohms at 72Hz)
Sensitivity: 88dB
Crossover: 390Hz, 2.1kHz, 12kHz
Dimensions: 17.6″ x 66″ x 23.3″
Weight: 353 lbs.
Price: $110,000

Dali AS
DALI Allé 1
9610 Nørager, Denmark

The put up Factory Visit | DALI to the KORE appeared first on The Absolute Sound.

World News

Factory Visit | DALI to the KORE

Posted on by Neil Gader

Like most profitable companies, the high-end audio business is constructed on relationships. If there’s one factor the previous two-plus years of the COVID-19 pandemic lock-down have taught us, it’s the significance and issue of sustaining these relationships—the connections, the comradery within the absence of commerce exhibits, these serendipitous face-to-face encounters, or simply sitting down at dinner and drinks and speaking store. Zoom calls alone have been useful however barely ample. So, after I acquired an invite to go to the DALI loudspeaker manufacturing facility in Denmark, I put apart any worldwide journey issues, dusted off my carry-on, and ready to hit the street. For 4 days in late August, a small band of eight audio journalists (together with me) was reintroduced to the model and acquired a crash course education us in all issues DALI—to not point out a smattering of listening classes thrown in for good measure. This included a deep dive into the event of KORE, the corporate’s first flagship loudspeaker in years.

As one of many foremost loudspeaker firms within the excessive finish, DALI (initialism for Danish Audiophile Loudspeaker Industries) stays firmly rooted in two-channel audio, and but it additionally produces an array of floorstanding and compact speaker strains (each energetic and passive) that cowl the home-cinema market. Its powered audio system are additionally enjoying an more and more vital position with the youthful demographic. Unlike older audio fanatics, the younger’uns desire how unobtrusively powered programs match right into a room—they will start streaming music with simply a few energy cords. Unbeknownst to me earlier than this journey, DALI additionally has an in- and on-wall division, in addition to a custom-installation division (CI).

Founded in 1983, DALI started modestly as a home model for Peter Lyngdorf’s HiFi Klubben empire of audio retailers. Today, DALI maintains places of work in seven nations. Most notably, in 2018, Lenbrook Americas, distributor of audio manufacturers NAD Electronics, PSB Speakers, and Bluesound wi-fi merchandise, started distributing DALI in Canada and the United States. (DALI fittingly distributes Lenbrook merchandise in Central Europe.) While DALI has maintained sturdy worldwide demand within the floorstanding and compact markets, its longer-term targets are to make a stronger impression in CI vis-à-vis the gorilla within the room, Klipsch, and the lesser gorillas, Bowers & Wilkins and KEF. Although China is presently its greatest CI market, DALI’s main enterprise technique is to develop the custom-installation and home-theater divisions within the U.S.

Dual voice coil KORE 11.5″ woofer.

Based within the city of Norager on the Jutland peninsula in northern Denmark, DALI is executing its enlargement plans each on and off campus. Our first cease was a tour of a neighborhood furnishings manufacturing facility (in enterprise since 1967) that DALI acquired in 2019. Still specializing in traditional Danish furnishings, its experience made doable the enclosure improvement of the brand new flagship loudspeaker, KORE. In the longer term its cabinetry experience will cut back DALI’s publicity to the supply-side vicissitudes of international sub-contractors. The important manufacturing facility enlargement features a high-tech, robotic lacquer/paint facility. Another current arrival is a 3D scanner and printer—know-how that makes it a lot simpler to fact-check a provider’s prototypes. Automation has made DALI one probably the most environment friendly factories in Denmark.

“Made in Denmark, Made in Europe”

Led by Lars Worre, managing director, and Krestian Pedersen, head of R&D/New Projects, DALI brass emphasised how, in gentle of tenuous supply-chain points and the skyrocketing transport prices attributable to the pandemic, key strategic points needed to be addressed. Their conclusion was that DALI ought to go in-house as a lot as doable and produce extra gadgets in Denmark and Scandinavia, particularly for higher-end ranges, although entry and mid-priced collection like Opticon and Rubicon may even now be totally assembled in-house.

Guided by COO Thomas Martin Holm, we have been allowed to poke our noses in just about each well-lighted nook and spotless cranny of the DALI manufacturing facility and warehouse. (Note in regards to the distinctive lighting: DALI is conscious that SADS, [Seasonal Affective Disorder Syndrome] could be a difficulty through the shorter sunlight hours of the Danish winter.) The situations have been virtually on a “clean-room” stage after I witnessed driver meeting, cones being glued and hand-coated, transducers magnetized, ultimate frequency-response testing, and cupboards polished and ready for transport.

KORE primary crossover

An enormous motorized blue door led to the cupboard store and the five-axis CNC machines and related lacquering facility. Previously, this manufacturing facility was restricted to vinyl-wrapping cupboard veneers, akin to these within the best-selling Opticon collection, however high-tech lacquer ending was essential for KORE. This new facility turned DALI’s greatest funding over the past 4 years. It additionally brings the favored wood-veneered Rubicon collection again from China to be produced totally in-house, thus minimizing future global-supply shocks. Given that Denmark has a number of the strictest emissions legal guidelines in relation to lacquer finishes, DALI employs a UV-curing, zero-solvent lacquer that’s rather more eco-friendly—evidenced by the dearth of any sturdy solvent odors. Curing can be lowered from a typical eight-week span to little multiple week. The finish result’s a a lot more durable end that has greater resistance to daylight.

Quality-control testing was complete and included energy dealing with, torturous warmth and humidity extremes (–40C to +80C), and a salt-spray take a look at that emulates prolonged ocean-air publicity for DALI merchandise that decision Malibu or Monaco residence. The price of those capital investments was not revealed, however little question it’s a considerable outlay that ought to and is already yielding advantages to next-generation DALI merchandise. Of venture? Not in the event you assume by way of the DALI long-term philosophy.

The KORE of the Matter

But this go to is basically about two tales. The manufacturing facility tour was prelude to the pièce de résistance—getting up shut and private with DALI’s new top-of-the-line mannequin, KORE. Recently unveiled at Munich High End, KORE is all flagship, DALI-style. It marks the corporate’s return to the ultra-high-end loudspeaker section. The 4.5-way, five-driver, bass-reflex design required the event of 1200 new components from scratch and the aforementioned CNC equipment and lacquer cubicles. Its complicated, curvilinear cabinetry additionally explains why DALI required a devoted furnishings manufacturing facility to execute the design. In order to type the curvature of the 17-layer Finnish birch, alternate grain glue-infused enclosure, DALI required a singular wet-heat course of utilized from the skin in and high-frequency heating utilized from the within out. An aluminum-block warmth press was created solely for this objective.

KORE final polishing station.

Construction of KORE is plainly on a heroic scale. Heavily braced and compartmentalized, the ensuing enclosure is a 28mm curved laminate, gloss-lacquered in Ammara Ebony veneer with a contrasting textured end. The heart of the baffle consists of a die-cast aluminum and structural thermoset-resin—the composite supplies offering a extremely inflexible platform for the mid and high-frequency drivers. The 75-pound, cement-based, resin-composite plinth leads to a low heart of gravity, offering a stable basis for the speaker’s substantial 353-pound total weight. Final meeting of KORE happens in a devoted space of the manufacturing facility.

The specs communicate for themselves. The five-driver array features a pair of 11.5″ woofers, with twin voice coils and a twin-suspension motor system. The honeycomb-sandwich paper-pulp cone diaphragm is bolstered with wooden fibers. The all-new 7″ midrange makes use of a light-weight paper-pulp diaphragm. Its titanium voice-coil former features a new highly effective Balanced Drive SMC (smooth magnetic compound) motor with a neodymium magnet. The proprietary SMC course of creates a motor system that’s free from inherent magnetic losses, thereby reducing harmonic distortion and enhancing dynamics. There’s a redesigned model of DALI’s signature wood-fiber cone, for a extra managed breakup conduct, in addition to a slim, low-mass encompass designed to reduce non-linearities. The EVO-Okay hybrid tweeter is an evolution of the DALI hybrid-tweeter module that dates to the Eighties. It combines an oversize 35mm dome and a brand new high-sensitivity model of the 10mm x 15mm ribbon. The ribbon begins rolling in at 10kHz and kicks in totally at 15kHz—basically working as a super-tweeter. The cut up crossover is put in close to the tweeter meeting and within the concrete plinth. It incorporates new SMC-KORE inductors (made by Mundorf, as are the resistors), which applies the SMC know-how to the core materials within the crossover inductors. According to Worre, these inductors decrease present distortion by as much as 12dB.

Listening: The Main Event

Our group listened to KORE in two listening environments—the bigger of the 2 areas was outfitted with all NAD digital electronics. Even on this unfamiliar house, KORE was spectacular in scale, dynamic impression, and power-range muscle. Inter-driver coherence was seamless. But I nonetheless discovered its common sonic persona a bit onerous and compelled. Perhaps it was the electronics or the very giant room quantity they needed to fill or the excessive playback volumes that Krestian Pedersen had chosen.

In any occasion, later that day our group decamped to a barely smaller, better-damped, and extra intimate house, the place we have been joined, as soon as once more, by Lars Worre. This setup, a compact-disc entrance finish by means of a Mola DAC, was pushed by DALI’s personal decades-old Gravity monoblocks—traditional pure Class A behemoths that outputted a head-spinning 1500 watts every. Sonically, this was rather more like what I used to be anticipating from a state-of-the-art contender from DALI—a lush, barely heat midrange with an intoxicating mix of element and immersion that drew me ever-closer to the music. Scale was formidable, and soundstaging was expansive. Imaging was ultra-stable and centered however not laser-guided in the best way of a high-performance, bass-restricted mini-monitor. Dynamic gradations have been very finely resolved. Worre warned that acquire ranges wanted to be set with warning, and he wasn’t kidding. As if he have been studying my thoughts, the monitor “Lux Aeterna” from Rutter’s Requiem was cued up. I’m very acquainted with this music, having listened to it in dozens of programs, and replica was beautiful in each sonic respect, from the breadth of the huge reverberant acoustic, to the load and depth of the wonderful pipe organ, to the effective delineation of voices inside the refrain.

Although listening time was all too transient, clearly KORE efficiency was consistent with that of different mega-speakers I’ve skilled. Sonically formidable, sure, however nonetheless approachable. According to Worre, this was according to the DALI philosophy that, even because it supplies a showcase for DALI know-how and innovation, KORE, can really match the true world and accent a room’s décor with out dwarfing the house. Worre additionally emphasised DALI’s historical past of making use of tried-and-true design rules—rules which can be utilized all through the product line to at least one extent or the opposite. Priced at $110,000 per pair, KORE appeared to me a relative discount in in the present day’s hyper-expensive ultra-high-end speaker market. I used to be advised that superior orders for KORE have already exceeded expectations.

As I took depart of my gracious hosts, my ultimate takeaway was that DALI is an organization on the transfer, grabbing the initiative and setting its sights on new alternatives, because it leverages its Lenbrook relationship. No one has a crystal ball, however my guess is that DALI’s future has by no means been brighter.

Specs & Pricing

Dali Kore Loudspeaker
Frequency response: 26Hz–34kHz
Nominal impedance: 4 ohms (minimal 3.2 ohms at 72Hz)
Sensitivity: 88dB
Crossover: 390Hz, 2.1kHz, 12kHz
Dimensions: 17.6″ x 66″ x 23.3″
Weight: 353 lbs.
Price: $110,000

Dali AS
DALI Allé 1
9610 Nørager, Denmark

The publish Factory Visit | DALI to the KORE appeared first on The Absolute Sound.

Uncategorized

Roksan Attessa Streaming Amplifier

Posted on by Neil Gader

Rok’san Roll, Baby

Not long ago, the appeal of integrated amps was, shall we say, low. The segment had become “same old, same old,” lacking innovation and the latest features. Part of its decline in popularity was the lure of home theater, 4K streaming video, and multichannel, which moved buyers into the AV receiver/processor wing of electronics. But as the expression goes, what goes around comes around. Ultimately the high end found its way. Demographics were changing; empty nesters were downsizing into smaller homes, as well as smaller-footprint audio systems. The very definition of the integrated amplifier was also evolving. And once high-resolution streaming went from novelty to mainstream, a new segment of integrated was born. DACs, often bundled with network/streaming capability, found their way into the chassis. That, coupled with vinyl’s comeback and the explosion in personal listening, have made today’s integrated amps cooler and more practical than ever. They are one-box solutions like never before.

Which brings me to the Roksan Attessa streaming amplifier—an 80Wpc amp that fully embodies where today’s marketplace lives and, at $3199, is almost thrifty by today’s inflationary standards. Attessa is an all-new in-house design, Roksan’s first with integrated DAC plus network/streaming capability. Handsome but discreetly so, its low-slung front panel makes it an easy fit in even modestly sized dens. It features robust plate-steel and aluminum construction, and a machined anodized-aluminum front panel. A large circular volume/input control dominates the center of that front panel, where there are no obvious pushbuttons. For those who long for the old-timey, analog feel of knobs, toggles, and rocker switches, well, you’re out of luck. In their place is an illuminated, horizontal, orange LED strip (reminiscent of a MacBook Pro’s touchbar) that runs across the center of the panel and indicates input sources on the left and volume increments on the right. Personally, given a choice, I’d have preferred an illuminated numerical scale to indicate volume rather than a fader-style graphic, but I’m probably in the minority. At the right end of the facia is a 3.5mm stereo mini-jack headphone socket, whose 7.5Vrms output is suitable for all but the most finicky headgear.

Stepping around to the back panel, there’s a sufficient variety of digital and analog connections, with two optical and two coaxial digital inputs, provisions for two USB thumb drives, a pair of analog inputs, plus a moving-magnet phonostage. The phono setting is a standard 47k ohm/56pf, and there are three gain settings to accommodate cartridges with outputs from 3–12mV. The in-house designed DAC section resolves to 24-bit/192kHz for the coax inputs and 24-bit/96kHz for optical. The SPDIF inputs will decode MQA-encoded PCM streams, including MQA CDs played back by the optional companion Attessa CD transport. It supports most of the familiar high-res streaming-audio formats and services.

Embrace the App

Setup was just a free and downloadable app away—in this case, MaestroUnite, a set-up app that partners with Roksan’s other components, connects to the local Wi-Fi network, and allows the owner to configure the amp with its companion CD transport to operate as a single unit. Further, there’s on-the-fly control of Roksan’s built-in features like input configuration, headphone sensitivity, analog input gain, balance, and low-power standby (as well as over-the-air updates).

For day-to-day use the recommended smartphone-based, BluOS controller app was, indeed, the way to go, especially if you do a lot of streaming from any one of the major high-resolution streaming services. (I’m looking at you Tidal and Qobuz.) That includes a shared music library, USB drives, Internet radio stations, and podcasts. It’s an easy app to navigate, and fairly intuitive after a few minutes of familiarization. Guided by its graphical interface and haptic feedback, selecting my listening volume and input source soon became second nature. Conveniently, there are three BluOS presets directly available from the inputs list for easy accessibility. As a streaming jukebox, the BluOS app was more than up to the task. However, I was still glad to have the handheld remote control near at hand for common functions like raising or lowering volume and mute.

In an amplifier segment where three-figure power ratings are more often the norm, Attessa’s 80Wpc rating is not an especially high number. But tell that to my 83dB sensitive ATC SCM20s. They couldn’t have been happier being driven by Attessa. Believe me, they are known to get a bit cranky when not fed sufficient high-quality power. But wattage ratings, as many of us know, are really only part of the story. Amps with significantly higher ratings than Attessa will not necessarily sound better or even as good—they only “read” more powerful on the page. Like the line goes, not all watts are created equal.


This is all a roundabout way of saying that Attessa is one rocking amp with high capabilities. Throughout this evaluation it was a fully formed performer and a glitch-free workhorse in my system, with no new-amp “teething” problems to speak of, especially commendable in a freshly minted design. In sonic performance, it registered high scores across all genres of music with most every recording it encountered. It was grain-free and non-edgy and wasn’t apt to shade or spotlight particular frequency bands or overcook harmonics or treble information. Baritone or soprano, each sounded exactly the way nature intended. It maintained a ripe and natural midrange, a firm and controlled bass, and a smooth if slightly drier treble. I wouldn’t characterize the sound of Attessa as laid-back, nor was it overly cool or clinical. There was a spotless clarity to every note. Listen to Mary Travers’ wistful vocal during “500 Miles” from PP&M’s eponymous album Peter, Paul & Mary, and you’ll know what I mean. There was orchestral warmth, sometimes in abundance, but only when it was present on the recording. I’m particularly sensitive to the presence of low-level noise clinging like contrails to delicate and decaying piano notes and harmonics. Attessa was remarkably free of this artifact. What it couldn’t fully convey was the rosy blush of harmonic detail and air of an upper tier, tube-hybrid integrated like Aesthetix’s Mimas.

The Attessa was especially impressive imparting dynamic energy in both the macro and micro senses; transient information never grew weak-kneed in the face of large dynamic swings. A less noteworthy amp will flatten and smooth these transitions, as if acting like a recording-studio compressor and limiter. This doesn’t happen in the acoustic of the concert hall; every instrument from the triangle to the tuba is reproduced in full voice, as it should be.

Given that my LP rig was “offline” for most of this evaluation period due to a factory restoration of my SME Series V tonearm, I didn’t have a much time to spend with the Attessa’s phonostage input, but the time I did spend was more than worthwhile. It has selectable gain and performed quietly and with balance and conviction. The Clearaudio Charisma V2 I was using has a fairly easing going 3.6mV output, so noise was not a problem. But the familiar Charisma sound was reproduced in abundance. On a track like “Someone in a Tree” from Stephen Sondheim’s Pacific Overtures, there were the familiar hints of warmth, zero etch or grain, and superior imaging and placement of the singers arrayed across the stage. Channel separation was very good, too. Imaging was not especially dimensional, however. On a track like Rutter’s “Lux Aeterna,” there’s not a lot of depth on the soprano, and the depth and acoustic of the hall seemed a bit shortened—a generalized soundstage compared with a top-notch reference integrated like the Aesthetix.

For digital performance, I threw one Tidal playlist after another at the Attessa, waiting to trip it up, to find its weakness. I even sent the digital signal from my dCS Puccini to let the Attessa’s DAC take the reins. That trip-up never happened. The Roksan’s DAC section is uh, Rok-solid. Comparing my reference Lumin S1 media player to the Attessa DAC, there was little in the way of a sonic letdown. The Lumin owned the soundstage and three-dimensionality from the outset. Its warmer, analog-like character contrasted with Attessa’s drier, less airy personality. But when it came down to imaging precision, tonal balance, and textural complexity, the contest was a lot closer. With the Lumin more than triple the price of an entire Attessa kaboodle, this close competition should make any Roksan owner satisfied with a savvy buying decision.

An interesting side note. Roksan was founded in 1985 and acquired by British loudspeaker manufacturer Monitor Audio Ltd in 2016. The Attessa Series components are post-acquisition developments, and Roksan has stated that it will be revising and refining current products and developing new products. These developments, along with Monitor Audio’s fine reputation in loudspeakers, should augur well for forthcoming system-wide synergy that audiophiles can truly look forward to. Indeed, the Roksan Attessa turned out to be a real sleeper. Looks, ergonomics, and performance—a lot of pieces must fall into place to successfully bring together digital and analog sections, sophisticated software, plus Wi-Fi and network capability. It’s no small task, but with Attessa Roksan has fully met the challenge and then some. At $3199 all-in, the Attessa is likely the one to beat in a hotly competitive division. Highly recommended.

Specs & Pricing

Power: 80Wpc into 8 ohms, 130Wpc into 4 ohms
Digital inputs: 2 optical, up to 96kHz/24bit; 2 coax SPDIF up to 32-bit/192kHz
Analog inputs: 2 RCA, MM phono
Outputs: 1pr RCA analogue (Pre-out/SUB)
Supported audio formats: MP3, AAC, WMA, OGG, WMA-L, ALAC, OPUS
MQA, FLAC, WAV, AIFF, Supports converted DSD playback via the BluOS desktop app (only) up to 24 bit/192kHz
Dimensions: 17** x 3** x 14.75**
Weight: 23 lbs.
Price: $3199

KEVRO INTERNATIONAL
902 McKay Road, Unit #4
Pickering, ON L1W 3X8
(800) 667-6065
kevro.com

The post Roksan Attessa Streaming Amplifier appeared first on The Absolute Sound.