The Bel Canto S-300i is a handsome piece of hear. Sporting arguably the thickest aluminum fascia I've ever seen, the fit and finish is absolutely stunning. From the tactile feel of its microprocessor controlled control knob, to the WBT binding speaker binding posts, everything feels perfectly balanced.
For a "digital" amplifier, the Bel Canto is also suprisingly heavy, about 5 kg. Based on a 150 wpc (8 Ohm) Bang & Olufsen Icepower module, the Bel Canto will deliver up to 300 wpc into a 4 ohm load.
Well enough about the specifications, how does it sound ?
According to conventional hi-fi wisdom, "Digital" amplifiers sound dry, synthetic and lifeless. Some early "digital" amplifier designs may have done nothing to dispel that myth. However, the Bel Canto has a fairly easy going sound. Extremely tight and fast bass, a warm midrange with the right amount of weight, what more could one ask for ?
I think the weakness of the Bel Canto lies in its presentation of high frequencies. There is a certain opacity and dryness to the sound such that hi-hats and percussion instruments don't really have much sense of air or space. You can hear the initial transient of the note, but without much feel of the decay thereafter. This weakness is not immediately noticeable but is revealed upon extended listening and comparisons with the other amplifiers I had at hand.
The above criticism has to be taken in context. The Bel Canto for its power is not an expensive amplifier (OK, its not a budget amplifier either). It proved very reliable in use, never skipping a beat or giving any cause for concern. I have built two systems around this amplifier for friends, and the results have been very satisfying. However, its overall balance requires careful auditioning and matching with partnering equipment.
Monday, June 29, 2009
Saturday, June 13, 2009
An Afternoon of Tuning
Saturday afternoon was spent over at a friend's place listening to his newly built Fostex FE168 Sigma in backloaded horn cabinets and the Diva Classic 1L preamp.
My friend has the honour of owning the very first set of the 1L preamp fresh from T.S. Lim's hands.
The Diva was paired with a modded Cayin A-50T. The Cayin does not have a direct preamp in socket, so the volume knob was either turned to maximum or about 12 o'clock (at times we felt the gain was too high with the knob at maximum). The Cayin is basically a power amp with a passive preamp stage inside a single chassis.
The modifications done to the Cayin A-50T include a change of input coupling capacitors to Jensen aluminum paper-in-oil capacitors. The other coupling caps downstream were changed to Sonic Cap MkI and the feedback caps changed to Solen. The grid stopper resistor has also been changed to Japanese Kiwame resistors.
The 1L has a beautiful yellow faceplate and uses an outboard solid state rectified power supply. The preamp circuit should be very simple (we didn't open it up) since there is only a single 6SN7 tube.
The Fostex was still running in, and we felt that although the tonal balance is quite nice, there was no bass, and very limited high frequency extension. Midrange definition also lacked some texture. Probably more extended run in would be needed before final conclusions could be made.
The full range driver strengths in terms of dynamics and coherence were all there, just that the lack of frequency extremes (this Fostex driver has no whizzer cone BTW and has an intriguing flower like pattern on its cone) and slight shoutiness made the sound a bit uneven.
First up, we rolled some of the tubes. The first to go were the small tubes in the Cayin. The 12AX7 and 12AU7 used there were JJ 12AX7/ECC803 and stock Cayin 12AU7 (almost certainly Shuguang). The 12AX7 tubes were replaced with RCA 5751 double mica blackplates and the 12AU7 replaced with RCA cleartops.
Flick the switch and hummmmmmmmm. Oops. Turned out the 5751 tubes were being a bit naughty. So, the JJs went back in. Wow, what a world of difference just with the change of 12AU7 tubes. Midrange was much more defined and the overall feel was more lifelike, focused and textured.
Other adjustments done included replacing the EL34 tubes of the Cayin with EH6CA7 tubes, and the stock EH 6SN7 in the Classic 1L which was replaced with a RCA GTB blackplate. Speakers were moved out a bit and toed in almost directly to the listener.
Ah... so much better now, although we both agreed that the very creamy and rich sound of the RCA 6SN7 GTB may be a bit too slow and warm for some.
My friend suggested we try the setup with another pair of speakers, Totem Sttaffs. Turned out to be the best sound of the day, but only with judicious repositioning of the speakers in the room.
The speakers were brought out far into the room and with slight toe in aiming to a point behind the listener position.
The bass was still slightly uncontrolled and a pair of socks had to be sacrificed to block the rear-firing ports of the cabinet.
Actually we had both written off the Totem Sttaffs before this point as my friend had quite a lot of problems with the Totem that sounded very dark with soundstaging and imaging problems. But he is now keen of keeping the Totem and fine tuning it to get the best sound possible.
It was a very fun two hours and we both learnt quite a fair bit. The tube rolling was quite a shock for both of us. Although I have always been a proponent of NOS preamp tubes, this is the first time I have heard such a day and night difference with just a single tube roll.
It will be interesting to see how the Fostex turns out after another 50 to 100 hours of run in.
My friend has the honour of owning the very first set of the 1L preamp fresh from T.S. Lim's hands.
The Diva was paired with a modded Cayin A-50T. The Cayin does not have a direct preamp in socket, so the volume knob was either turned to maximum or about 12 o'clock (at times we felt the gain was too high with the knob at maximum). The Cayin is basically a power amp with a passive preamp stage inside a single chassis.
The modifications done to the Cayin A-50T include a change of input coupling capacitors to Jensen aluminum paper-in-oil capacitors. The other coupling caps downstream were changed to Sonic Cap MkI and the feedback caps changed to Solen. The grid stopper resistor has also been changed to Japanese Kiwame resistors.
The 1L has a beautiful yellow faceplate and uses an outboard solid state rectified power supply. The preamp circuit should be very simple (we didn't open it up) since there is only a single 6SN7 tube.
The Fostex was still running in, and we felt that although the tonal balance is quite nice, there was no bass, and very limited high frequency extension. Midrange definition also lacked some texture. Probably more extended run in would be needed before final conclusions could be made.
The full range driver strengths in terms of dynamics and coherence were all there, just that the lack of frequency extremes (this Fostex driver has no whizzer cone BTW and has an intriguing flower like pattern on its cone) and slight shoutiness made the sound a bit uneven.
First up, we rolled some of the tubes. The first to go were the small tubes in the Cayin. The 12AX7 and 12AU7 used there were JJ 12AX7/ECC803 and stock Cayin 12AU7 (almost certainly Shuguang). The 12AX7 tubes were replaced with RCA 5751 double mica blackplates and the 12AU7 replaced with RCA cleartops.
Flick the switch and hummmmmmmmm. Oops. Turned out the 5751 tubes were being a bit naughty. So, the JJs went back in. Wow, what a world of difference just with the change of 12AU7 tubes. Midrange was much more defined and the overall feel was more lifelike, focused and textured.
Other adjustments done included replacing the EL34 tubes of the Cayin with EH6CA7 tubes, and the stock EH 6SN7 in the Classic 1L which was replaced with a RCA GTB blackplate. Speakers were moved out a bit and toed in almost directly to the listener.
Ah... so much better now, although we both agreed that the very creamy and rich sound of the RCA 6SN7 GTB may be a bit too slow and warm for some.
My friend suggested we try the setup with another pair of speakers, Totem Sttaffs. Turned out to be the best sound of the day, but only with judicious repositioning of the speakers in the room.
The speakers were brought out far into the room and with slight toe in aiming to a point behind the listener position.
The bass was still slightly uncontrolled and a pair of socks had to be sacrificed to block the rear-firing ports of the cabinet.
Actually we had both written off the Totem Sttaffs before this point as my friend had quite a lot of problems with the Totem that sounded very dark with soundstaging and imaging problems. But he is now keen of keeping the Totem and fine tuning it to get the best sound possible.
It was a very fun two hours and we both learnt quite a fair bit. The tube rolling was quite a shock for both of us. Although I have always been a proponent of NOS preamp tubes, this is the first time I have heard such a day and night difference with just a single tube roll.
It will be interesting to see how the Fostex turns out after another 50 to 100 hours of run in.
Wednesday, April 15, 2009
Acrolink 6N Interconnects - Quick comparisons
Acrolink 6N-A2400II
How much did I pay for this interconnect ? I am somewhat embarrassed to say. On the lookout for an upgrade from the Acrolink A-2110, looking at one of its higher end brethren seemed like a logical choice.
Speaking to the ever helpful Steven Cheah of Audio Basic in Adelphi, he suggested looking at the Acrolink 6N A-2400II. Residing at the top end of Acrolink’s 6N range, it is more than double the cost of the Acrolink A-2110.
Was anything wrong with my A-2110 ? Not really. It was enough to impress me in listening tests to warrant a purchase. And having listened to the whole gamut of cable out there from DIY Belden and Klotz to Audioquest, Mogami, XLO, Crystal, Siltech, that counted for something.
The A-2110 is a rather plain looking cable with a nude colour outer sheath terminated with very nice Acrolink RCA plugs. During listening tests when I first bought it, it quickly distinguished itself compared to the A-2050 II and A-2200 II which are the entry level models in Acrolink’s line-up. You can refer to http://www.acrolink.jp/english/products/6n_a2110_2.html for more information.
The A-2400II in comparison is a very impressive looking cable with a transparent gold insulating jacket, with the braided shield underneath quite visible. The RCA plugs in particular are a work of art. They are heavy, well made, and are rhodium plated. Part of the barrel is made out of carbon fiber. Full specifications are available at http://www.acrolink.jp/english/products/6n_a2400_2.html
The A-2110 has the characteristic Acrolink house sound – light, delicate with emphasis on a neutral midrange and shimmering highs, with very natural air around instruments and decay from transients. If the A-2110 had one drawback, it was the relative lack of bass compared to its sparkling highs.
Anyway, it was decided at Audio Basic that we would not test cables beyond the A-2400II simply because I was not willing to spend that much money on wire. A selection of tracks from Eva Cassidy’s Live at the Blues Alley were selected for comparison purposes.
By the end of the comparison, it was evident that the extra money had to be spent on the A-2400II. In fact, the miser in me had hoped that the A-2110 would prove more than sufficient. The A-2400II strikes you immediately as being a very quiet cable with absolute control over both ends of the frequency spectrum. Initially, it appears to be less dynamic than the A-2110. Further inspection reveals that the dynamics of the A-2110 are partly due to the slight messiness of its presentation. The crash of cymbals etc and resonance from percussive instruments can be slightly smeared in comparison. Also, when things really got busy, the A-2110 had a tendency for instruments to get lost in the mix.
As a matter of interest, my non-audiophile partner was asked to listen to 6 different interconnects. She commented on how similar the A-2110 and A-2400II were in terms of balance, although she had a preference for the A-2400II which in her words was simply better.
It was nice to see that diminishing returns did not set in for the A-2400II and the money spent was justified as compared to spending the extra dosh on upgrading other components in the system. IMHO, the expense of the A-2400II is fully justifiable in high end set-ups, where it is really able to strut its stuff.
As a matter of interest, I acquired a second hand A-2200II recently for another set-up. It is darker sounding than the A-2110 and has less treble refinement and extension. For that reason alone, I preferred the A-2110 which is more suitable in my setup.
Now, if I can just get my hands on Acrolink’s 7-N range for comparison.
How much did I pay for this interconnect ? I am somewhat embarrassed to say. On the lookout for an upgrade from the Acrolink A-2110, looking at one of its higher end brethren seemed like a logical choice.
Speaking to the ever helpful Steven Cheah of Audio Basic in Adelphi, he suggested looking at the Acrolink 6N A-2400II. Residing at the top end of Acrolink’s 6N range, it is more than double the cost of the Acrolink A-2110.
Was anything wrong with my A-2110 ? Not really. It was enough to impress me in listening tests to warrant a purchase. And having listened to the whole gamut of cable out there from DIY Belden and Klotz to Audioquest, Mogami, XLO, Crystal, Siltech, that counted for something.
The A-2110 is a rather plain looking cable with a nude colour outer sheath terminated with very nice Acrolink RCA plugs. During listening tests when I first bought it, it quickly distinguished itself compared to the A-2050 II and A-2200 II which are the entry level models in Acrolink’s line-up. You can refer to http://www.acrolink.jp/english/products/6n_a2110_2.html for more information.
The A-2400II in comparison is a very impressive looking cable with a transparent gold insulating jacket, with the braided shield underneath quite visible. The RCA plugs in particular are a work of art. They are heavy, well made, and are rhodium plated. Part of the barrel is made out of carbon fiber. Full specifications are available at http://www.acrolink.jp/english/products/6n_a2400_2.html
The A-2110 has the characteristic Acrolink house sound – light, delicate with emphasis on a neutral midrange and shimmering highs, with very natural air around instruments and decay from transients. If the A-2110 had one drawback, it was the relative lack of bass compared to its sparkling highs.
Anyway, it was decided at Audio Basic that we would not test cables beyond the A-2400II simply because I was not willing to spend that much money on wire. A selection of tracks from Eva Cassidy’s Live at the Blues Alley were selected for comparison purposes.
By the end of the comparison, it was evident that the extra money had to be spent on the A-2400II. In fact, the miser in me had hoped that the A-2110 would prove more than sufficient. The A-2400II strikes you immediately as being a very quiet cable with absolute control over both ends of the frequency spectrum. Initially, it appears to be less dynamic than the A-2110. Further inspection reveals that the dynamics of the A-2110 are partly due to the slight messiness of its presentation. The crash of cymbals etc and resonance from percussive instruments can be slightly smeared in comparison. Also, when things really got busy, the A-2110 had a tendency for instruments to get lost in the mix.
As a matter of interest, my non-audiophile partner was asked to listen to 6 different interconnects. She commented on how similar the A-2110 and A-2400II were in terms of balance, although she had a preference for the A-2400II which in her words was simply better.
It was nice to see that diminishing returns did not set in for the A-2400II and the money spent was justified as compared to spending the extra dosh on upgrading other components in the system. IMHO, the expense of the A-2400II is fully justifiable in high end set-ups, where it is really able to strut its stuff.
As a matter of interest, I acquired a second hand A-2200II recently for another set-up. It is darker sounding than the A-2110 and has less treble refinement and extension. For that reason alone, I preferred the A-2110 which is more suitable in my setup.
Now, if I can just get my hands on Acrolink’s 7-N range for comparison.
Sunday, April 12, 2009
Hypex UCD400
Over the past few years, I've dabbled with a number of "digital" amps (they actually aren't digital, but that's a whole separate discussion) and have had positive experiences with some of them to consider them seriously for a permanent place in my hi-fi systems.
I remember my first experience, the first generation Sonic Impact amp based on a Tripath chip with 5W output. The gasp that came from the small group that had gathered at my house was not really related to the sound, but more the shock that the tiny little amp could drive my Monitor Audio bookshelf speakers, powered by 8 AA batteries no less !
Fast forward, and I've tried a number of technologies including Tripath, proprietory (Flying Mole), B&O Icepower and now Hypex.
The Hypex was purchased second hand through a local hi-fi forum and was assembled by local modder and DIY supplier, James from Effective Audio Mod.
Here are some photos including some a shot under the hood. As you can see, it is a dual mono design with separate transformers and power supply boards for each channel. There is a motorised Alps potentiometer in front with a toggle switch, so you can use it as an integrated amp or power amp.
Sound wise, the Hypex seems to stray from the path of the sonic balance of most "digital" amps in that it avoids having the subterranean bass that seems quite common for these powerhouses. In fact, the sound of Hypex reminds me very much of the sonic balance of Tripath based amps.
The bass is quite well rounded with a certain amount of fullness (reminds me a bit of my tube amps ... of course my tube amps have much less control in the bass region). Its midrange is quite neutral with this balance maintained up to the high frequencies.
Amongst all the "digital" amps I've owned or heard, this one has the most pleasing highs. It doesn't sound etched, or dry. There is a nice sparkle and the communication of acoustic space is excellent. When listening to Patricia Barber's excellent drummer, the way the high hats shimmer is absolutely sublime. In case you think I really like this amp .... I do !
The above is with the built in passive potentiometer (Alps blue velvet). Paired with a Diva M7 tube preamp, the midrange becomes slightly fuller with the high frequency maintaining their shimmer but losing a bit of separation in favour of a slightly more organic presentation.
I also found that the Hypex matched very well with my Thiel CS 1.6. It had just the right balance to warm up the bass while maintaining the Thiel's neutrality and speed in the midrange and treble. What if you can't afford the Hypex ? Think seriously about a Tripath amp if you can get away with its power limitations. I have a Kingrex T-10U that I'll write about soon.
I remember my first experience, the first generation Sonic Impact amp based on a Tripath chip with 5W output. The gasp that came from the small group that had gathered at my house was not really related to the sound, but more the shock that the tiny little amp could drive my Monitor Audio bookshelf speakers, powered by 8 AA batteries no less !
Fast forward, and I've tried a number of technologies including Tripath, proprietory (Flying Mole), B&O Icepower and now Hypex.
The Hypex was purchased second hand through a local hi-fi forum and was assembled by local modder and DIY supplier, James from Effective Audio Mod.
Here are some photos including some a shot under the hood. As you can see, it is a dual mono design with separate transformers and power supply boards for each channel. There is a motorised Alps potentiometer in front with a toggle switch, so you can use it as an integrated amp or power amp.
Sound wise, the Hypex seems to stray from the path of the sonic balance of most "digital" amps in that it avoids having the subterranean bass that seems quite common for these powerhouses. In fact, the sound of Hypex reminds me very much of the sonic balance of Tripath based amps.
The bass is quite well rounded with a certain amount of fullness (reminds me a bit of my tube amps ... of course my tube amps have much less control in the bass region). Its midrange is quite neutral with this balance maintained up to the high frequencies.
Amongst all the "digital" amps I've owned or heard, this one has the most pleasing highs. It doesn't sound etched, or dry. There is a nice sparkle and the communication of acoustic space is excellent. When listening to Patricia Barber's excellent drummer, the way the high hats shimmer is absolutely sublime. In case you think I really like this amp .... I do !
The above is with the built in passive potentiometer (Alps blue velvet). Paired with a Diva M7 tube preamp, the midrange becomes slightly fuller with the high frequency maintaining their shimmer but losing a bit of separation in favour of a slightly more organic presentation.
I also found that the Hypex matched very well with my Thiel CS 1.6. It had just the right balance to warm up the bass while maintaining the Thiel's neutrality and speed in the midrange and treble. What if you can't afford the Hypex ? Think seriously about a Tripath amp if you can get away with its power limitations. I have a Kingrex T-10U that I'll write about soon.
Saturday, March 28, 2009
Quick and dirty comparison of 12AX7 and compatible tubes
Here is a quick comparison of 12AX7 and 5751 tubes in my Diva Audio M7 tube pre-amp.
For those unfamiliar with the Diva Audio M7, it is a fairly popular tube pre-amp designed and built in Singapore by Mr. T.S. Lim. It is based on the Marantz 7 circuit and uses 3 12AX7 tubes.
Here are the observations of rolling the first tube position. Electroharmonix 12AX7 gold is used in the second tube position while the RCA 5751 blackplate (double mica) is used in the third tube position,
1. GE JAN 12AX7WA (1986 date code)
The tonal balance is dense with decent midrange and treble detail. However, dynamics seem a bit flat.
2. Golden Dragon 12AX7
The tonal balance is lightweight. A bit of a paradox, but the tube avoids brightness despite quite a lot of treble extension. Midrange and treble seemed smoothed out but the highs seem to go a lot further. I say it it a paradox to me, because this kind of extended response usually results in a fairly bright presentation. The lightweight sound probably comes from the lack of bass. This tube was a lot better than what I expected.
3. Sylvania 5751 gold pin (tripe mica)
My favourite tube of the lot. A lot of detail with both extended bass and treble. Very good air with good control of sibilance. Tonal balance is close to neutral.
4. RCA 5751 blackplate (double mica)
Dark tonal balance. Very smooth and creamy but compared to the other tubes, some midrange and treble detail is lost. I suppose its quite ideal in bright systems, but match with care. That being said, I've had very good results for this tube in other equipment.
For those unfamiliar with the Diva Audio M7, it is a fairly popular tube pre-amp designed and built in Singapore by Mr. T.S. Lim. It is based on the Marantz 7 circuit and uses 3 12AX7 tubes.
Here are the observations of rolling the first tube position. Electroharmonix 12AX7 gold is used in the second tube position while the RCA 5751 blackplate (double mica) is used in the third tube position,
1. GE JAN 12AX7WA (1986 date code)
The tonal balance is dense with decent midrange and treble detail. However, dynamics seem a bit flat.
2. Golden Dragon 12AX7
The tonal balance is lightweight. A bit of a paradox, but the tube avoids brightness despite quite a lot of treble extension. Midrange and treble seemed smoothed out but the highs seem to go a lot further. I say it it a paradox to me, because this kind of extended response usually results in a fairly bright presentation. The lightweight sound probably comes from the lack of bass. This tube was a lot better than what I expected.
3. Sylvania 5751 gold pin (tripe mica)
My favourite tube of the lot. A lot of detail with both extended bass and treble. Very good air with good control of sibilance. Tonal balance is close to neutral.
4. RCA 5751 blackplate (double mica)
Dark tonal balance. Very smooth and creamy but compared to the other tubes, some midrange and treble detail is lost. I suppose its quite ideal in bright systems, but match with care. That being said, I've had very good results for this tube in other equipment.
Sunday, February 15, 2009
Anthony Gallo speakers
I had an opportunity to audition Anthony Gallo speakers at the local dealer recently, having been tasked to help a friend set-up a home theater system. Having an unobtrusive and stylish design was important, so the cute little spheres from Anthony Gallo seemed to be worth checking out.
The local dealer is econ-av and they have a small showroom on the first floor of Adelphi Shopping Center. You can have a look at www.roundsound.com to see the full range of Anthony Gallo.
I auditioned the Nucleus Micro, Micro Ti and the A'Diva Ti. The setup used for the Nucleus Micro and the rest were different (the Nucleus Micro was ceiling mounted) so comparisons may be due to mounting.
All 3 setups were auditioned with both hometheater and music.
First up was the Nucleus Micro. Based on looks alone, I would have chosen this. The cute little spheres come in very funky colors including bronze, glossy red and yellow.
As all 5 channels use identical spheres, steering is excellent with the panning between channels being seamless. Imaging is also quite good. Surprisingly the speakers sound more than decent with music and seem to go fairly low for their size (I estimate about 100 Hz). The dealer switched off the subwoofer and they actually sounded quite OK.
We switched over to the Nucleus Micro Ti. I didn't like it and it sounded too forward, crispy (not in a good way) with a noticeable tilt at the top end.
Finally, we listened to the A'Diva Ti. Very nice. Much of the quality of the Nucleus Micro while showing a noticeable improvement in weight and extension (the A'Diva is physically larger).
One thing I noticed is that the center channel sounds very small in comparison. Having listened to multiple driver center speakers my whole life, the dialogue seems in comparison to be less "centered" to the screen and lacking in depth. Having said that, I seldom hear conventional home theater speaker sets with such even panning from left to right.
Finally comes the sticker shock. These cute speakers sell for $2,000 for the 5.1 set (Nucleus Micro in plain finishes). Extra for exotic finishes. The Nucleus Micro is $2,800 while the A'Diva is $3,800. The matching subwoofers included in this package seem a bit small and it may make sense to pair the satellites with another active sub.
Pity. They really are cute and perform competently. The large markup over the U.S. price will make them hard to swallow for the local audiophile / videophile. Worth checking out if aesthetics are very important to you and you don't mind the premium.
There is an interesting product which looks quite similar from Orb Audio (www.orbaudio.com) which are priced more competitively. They are only available direct over the internet so comparisons will be difficult.
The local dealer is econ-av and they have a small showroom on the first floor of Adelphi Shopping Center. You can have a look at www.roundsound.com to see the full range of Anthony Gallo.
I auditioned the Nucleus Micro, Micro Ti and the A'Diva Ti. The setup used for the Nucleus Micro and the rest were different (the Nucleus Micro was ceiling mounted) so comparisons may be due to mounting.
All 3 setups were auditioned with both hometheater and music.
First up was the Nucleus Micro. Based on looks alone, I would have chosen this. The cute little spheres come in very funky colors including bronze, glossy red and yellow.
As all 5 channels use identical spheres, steering is excellent with the panning between channels being seamless. Imaging is also quite good. Surprisingly the speakers sound more than decent with music and seem to go fairly low for their size (I estimate about 100 Hz). The dealer switched off the subwoofer and they actually sounded quite OK.
We switched over to the Nucleus Micro Ti. I didn't like it and it sounded too forward, crispy (not in a good way) with a noticeable tilt at the top end.
Finally, we listened to the A'Diva Ti. Very nice. Much of the quality of the Nucleus Micro while showing a noticeable improvement in weight and extension (the A'Diva is physically larger).
One thing I noticed is that the center channel sounds very small in comparison. Having listened to multiple driver center speakers my whole life, the dialogue seems in comparison to be less "centered" to the screen and lacking in depth. Having said that, I seldom hear conventional home theater speaker sets with such even panning from left to right.
Finally comes the sticker shock. These cute speakers sell for $2,000 for the 5.1 set (Nucleus Micro in plain finishes). Extra for exotic finishes. The Nucleus Micro is $2,800 while the A'Diva is $3,800. The matching subwoofers included in this package seem a bit small and it may make sense to pair the satellites with another active sub.
Pity. They really are cute and perform competently. The large markup over the U.S. price will make them hard to swallow for the local audiophile / videophile. Worth checking out if aesthetics are very important to you and you don't mind the premium.
There is an interesting product which looks quite similar from Orb Audio (www.orbaudio.com) which are priced more competitively. They are only available direct over the internet so comparisons will be difficult.
Wednesday, July 9, 2008
Trends Audio TA10.1 – Switched mode vs. linear power supply
Introduction
The cute little Trends TA10.1 is a cheerful and useful little amp. Based on a Tripath chipset, it delivers 5 watts per channel and is perfect for a small bedroom, kitchen or office setup.
Used within its power limitations, it will not be embarrassed by amps many times its price. The Trends in particular is very modification friendly and my set has an upgraded potentiometer from Panasonic and Auricap coupling capacitors.
The stock power supply provided by the local distributor here in Singapore, Audio Trio, is a Chinese made switching power supply rated at 12V, 3A. Its hardly generates any heat, is light and compact.
Other users have reported varying degrees of success at using alternative power supplies, particularly units with higher maximum current rating, or linear power supplies.
Here is a comparison with a JVC linear power supply (bought from Koba Electronics at Peoples Park, Chinatown) rated at 12V, 2A. Heavy as a brick, it runs fairly warm and for some diabolical reason has the shortest DC jack cable I’ve ever seen.
Stock supply
There is nothing particularly wrong with the stock supply and performance seems relatively well rounded, with an attractively high amount of detail level. Instruments in jazz tracks like the saxophone, drumset etc, are well separated and precisely located in the soundstage. High frequencies are particularly airy with a shimmering feel.
If there is one criticism, the overall balance is relatively lightweight and bright, as the high frequency sparkle is not matched with a solid bass. Interestingly though, the bass is very tight and well controlled, but lacking in extension.
JVC linear power supply
The anti-thesis of the stock supply, the JVC linear power supply imparts a much darker presentation. Instruments do not pop out like the stock supply and image size tends to be larger but somewhat imprecise. Where the JVC stands out is the much heftier bass which has more impact and tilts the balance towards the warm side. The overall detail level seems lower and the sense of air around instruments is hard to discern.
Conclusion
Both power supplies have their place. Much like day and night, it is really up to individual taste whether you like a cool shimmering balance, or a dark and rich presentation. I was somewhat surprised by the differences as the reports I have read from other audiophiles suggested that the linear power supply was the way to go. Not quite a clear choice to me.
The cute little Trends TA10.1 is a cheerful and useful little amp. Based on a Tripath chipset, it delivers 5 watts per channel and is perfect for a small bedroom, kitchen or office setup.
Used within its power limitations, it will not be embarrassed by amps many times its price. The Trends in particular is very modification friendly and my set has an upgraded potentiometer from Panasonic and Auricap coupling capacitors.
The stock power supply provided by the local distributor here in Singapore, Audio Trio, is a Chinese made switching power supply rated at 12V, 3A. Its hardly generates any heat, is light and compact.
Other users have reported varying degrees of success at using alternative power supplies, particularly units with higher maximum current rating, or linear power supplies.
Here is a comparison with a JVC linear power supply (bought from Koba Electronics at Peoples Park, Chinatown) rated at 12V, 2A. Heavy as a brick, it runs fairly warm and for some diabolical reason has the shortest DC jack cable I’ve ever seen.
Stock supply
There is nothing particularly wrong with the stock supply and performance seems relatively well rounded, with an attractively high amount of detail level. Instruments in jazz tracks like the saxophone, drumset etc, are well separated and precisely located in the soundstage. High frequencies are particularly airy with a shimmering feel.
If there is one criticism, the overall balance is relatively lightweight and bright, as the high frequency sparkle is not matched with a solid bass. Interestingly though, the bass is very tight and well controlled, but lacking in extension.
JVC linear power supply
The anti-thesis of the stock supply, the JVC linear power supply imparts a much darker presentation. Instruments do not pop out like the stock supply and image size tends to be larger but somewhat imprecise. Where the JVC stands out is the much heftier bass which has more impact and tilts the balance towards the warm side. The overall detail level seems lower and the sense of air around instruments is hard to discern.
Conclusion
Both power supplies have their place. Much like day and night, it is really up to individual taste whether you like a cool shimmering balance, or a dark and rich presentation. I was somewhat surprised by the differences as the reports I have read from other audiophiles suggested that the linear power supply was the way to go. Not quite a clear choice to me.
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