Totally Wired

Chelsea Wolfe recently played in Aotearoa. This was the second time around for us and even better; new songs, new venue. It was an awesome live experience and got me thinking, not just about how artists and their performances can progress and evolve over time.

Progress is more than just change – it’s improvement. In the world of home music replay, progress is what drives us to look at new components and systems, in the hope that we get to hear our favourite artists sound genuinely better.

It’s also important to understand that the introduction of a new model does not suddenly diminish the performance of the precursors. Progress needs a base to build from and the inherent qualities of the earlier models provide this.

NuPrime are the leaders in Class D amplifier design – more specifically they have pioneered innovative circuity combining elements of Class A with switching amplifier topologies powered by both linear (toroidal transformer based) and switched mode power supplies (SMPS) . They are constantly evaluating new developments with the end aim of delivering exceptional sound at affordable levels. You may be aware of the emergence of GaN (Gallium Nitride) based devices as a replacement for conventional silicon based transistors.

The new IDA-9 Integrated amplifier is the first NuPrime model to harness this new technology. The IDA-9 is here right now and sounding fantastic!

It’s all about power.

NuPrime (and formerly NuForce) have a long history with Switched Mode Power Supply (SMPS) design. The primary advantage of an SMPS is electrical efficiency – there is very little energy wastage in heat. Previous models including the reference level IDA-16 integrated amplifier and MCX series power amplifiers had SMPS units at their core. NuPrime have continually improved the performance of their SMPS designs, with better reliability, more power faster with less noise and distortion.

The key benefits of GaN devices mirror the core virtues of NuPrime’s existing amplifier designs – speed, power and cool running. 

When applied in the setting of an SMPS they yield major benefits allowing the supply circuity to be more compact yet produce a lot more power. But most importantly in the case of the NuPrime implementation this is combined with an improvement in sound quality.

The IDA-9 is a comprehensive update on the well proven IDA-8 integrated amplifier. The IDA-8 is an ideal starting point – it has proved to be both reliable and enduring, having been in continuous production since 2016 and remaining effectively unchanged. At the same time the 9 series separates which share the same casework have been through several generations and now in ‘9x’ form are considerably better sounding.

Rather than re-inventing the wheel, Nuprime have been very smart in retaining the best bits of the IDA-8. By doing this the IDA-9 remains affordable yet it’s a vastly better amplifier.

At the heart of the new model is a GaN based Switched Mode Power Supply (SMPS) – this delivers a dramatic increase in power, doubling the rated output to 200 watts per channel. Yet the IDA-9 appears to be almost identical to the IDA-8 in the same sized box with the same inputs, outputs and controls. If anything it runs cooler despite the higher power.

The massive power increase is matched by an improvement in quality on the input side;  the original IDA-8 features a modular preamp design that allows NuPrime to enhance its sonic characteristics. NuPrime have made solid progress since the introduction of the IDA-8 – we’ve seen the both AMG series and the enhanced 9x models – it’s this experience that feeds into the new integrated model. So the sound produced references both of these and somehow manages to combine the best of both. In fact there are some things it does that I think may even go beyond.

By building on the existing IDA-8 platform NuPrime exploit worthwhile economies of scale. The thermal efficiency of the GaN power supply means that no extra heat sinking is required and the small size of the IDA-9 saves significantly on material costs.

One of the advantages of an SMPS over a conventional transformer based design is speed – a linear supply effectively runs at mains frequency (50Hz) and relies of relatively large capacitors to smooth and store power. Music runs much faster than this and can quickly drain a conventional supply. The GaN based SMPS is running at frequencies far above the audio band and so can supply power faster with no lag.

You’ll immediately hear this with the IDA-9 – it’s remarkably agile and there’s a propulsive quality to the music. Leading edges of notes are precisely rendered but there’s no harshness associated with this sense of immediacy. This is probably due to the extra headroom confered by suddenly having 200 watts per channel on tap – in most normal listening situations, the IDA-9 will just be cruising.

Another striking quality of the IDA-9 is the level of detail it delivers. In theory, the original IDA-8 DAC section is modest and competent rather than drawing upon the latest Sabre chipsets that we see in NuPrime’s more upmarket models. But what we actually hear is a completely different story. This is in the context of being fed a very high quality stream via a Lumin U2 Mini so we’d certainly notice if the performance wan’t up to scratch. What the IDA-9 conclusively proves is that the sound you get is due to the quality of implementation of the DAC section rather actual chipset used – especially the handling of the analogue signal after conversion.

This detail is also a measure of the low noise floor and transparency of the IDA-9 – it’s an order of magnitude better than the IDA-8 in this regard. Again, the only conclusion we can come to is that this is attributable to the new GaN power supply.

It’s seldom that you’ll get such a clear cut improvement between generational models. While the extended timespan since the original IDA-8’s introduction allows for evolutionary change, it’s the GaN power supply which clearly differentiates the two models – the doubling of output power alone puts the IDA-9 at another level. As do the sonic differences between power supply types.

Something you may be wondering is why NuPrime have taken this long to introduce GaN technology when they have always been proactive in pushing the Class D envelope. And if the GaN devices are better in the actual output stage. The later approach was in fact tried several years ago but the results were less than convincing so the prototypes never made it to production. But this work highlighted the possibility of GaN technology being better suited to power supplies and the proof is literally in the pudding. This doesn’t mean it’s been easy to get to this point. Any new developments take time to refine and often there can be downsides – NuPrime’s deep experience with switching power supplies have allowed them to resolve these issues and the release of the IDA-9 has been intentionally scheduled to allow rigorous testing.

So when the IDA-9 finally arrived here, it has proved to be fully realised, works perfectly and actually exceeds expectations.

The IDA-9 retains the original IDA-8 input and output arrays – there are both digital and and analogue inputs and, speaker and subwoofer outputs. What has changed since the inception of the IDA-8 is the ubiquity of streaming services so you may wonder why the inclusion of these within the design is not built in. NuPrime have included their Stream Mini as a special introductory bonus with the first batches of the IDA-9 which immediately gives you this capability.

But streaming is evolving at a frenetic pace with new services, formats and increasing levels of resolution – even the best companies struggle to provide full compatibility across the board and so having this built in is just adds cost and future issues.

As we have alluded above, the quality of the IDA-9’s performance does warrant streaming devices that are similarly talented and to this end, a new version of the well proven Stream 9 is in the pipleine.

Within the greater NuPrime range, the IDA-9 is very much a component in it’s own right with a distinct character. The all analogue IA-9x highlights the differences – both are integrated amplifiers with the same casework – but outside of that the internal designs could barely be more different and sound wise they are at opposite poles – the IDA-9 is immediately impressive with it’s speed, power and urge, the IA-9x is more of a subtle slow burn. With both designs NuPrime is showing you exactly what they can do and each effectively showcases a key technology – with the IA-9x it’s the ODC – Only Distortion Cancellation topology which really brings out the best qualities in analogue. The GaN based SMPS is central to the IDA-9 and allows the amplifier to fully exploit the digital inputs.

What’s next for NuPrime?

Which neatly brings us to the question of where do we go from here. With any integrated amplifer and especially with both the IDA-9 and IA-9x, there’s only so much you can fit in the box and if you want more then it’s time to look at pre and power amplifiers. On this score, NuPrime have us well covered and it’s here we look if you want the best of all worlds.

The Evolution STA is a larger stereo power amplifier and like the IA-9x, featured the ODC circuitry but with more power and refinement. This reference level amplifier is now getting the ‘SE’ treatment in the form of an even better and more powerful GaN SMPS unit to replace the existing transformer and double the rated power from 200 to 400 watts per channel. There will be other refinements to rebalance the sound to the innate characteristics of the SMPS and cement the place of the Evolution components as NuPrime’s flagship designs.

This is a measure of just how advanced the new IDA-9 is – it’s core technology has a lot in common with the very best components and it’s really only a question of scale and cost. And with 200 watts per channel already on board in a fully featured amplifier, you can appreciate that for most listeners, the IDA-9 will be all you will ever need.

• NuPrime IDA-9 Integrated digital amplifier – black and silver finishes in stock, Stream Mini also included for a limited time. NZ$3000 including GST and delivery.

Specification

• Inputs:
  • 1 x USB PCM / DSD Digital (PCM up to 384kHz & DSD up to DSD256)
  • 1 x Coaxial Digital S/PDIF (PCM up to 192K supporting DoP format DSD64)
  • 1 x Optical Digital S/PDIF (PCM up to 192K supporting DoP format DSD64)
  • 1 x Bluetooth or WiFi receiver device (optional)
  • 1 x Analog Stereo RCA (analog input will be digitized)
• Outputs:
  • 1 x pair of stereo speaker (binding posts) output
  • 1 x pair of stereo RCA (2V*), variable (volume controlled) output, full range
• USB Sampling Rates: 44.1KHz, 48KHz, 88.2KHz, 96KHz, 176.4KHz, 192KHz, 352.8KHz, 384KHz and DSD 2.8MHz, 5.6MHz, 11.2MHz
• S/PDIF Sampling Rates: 44.1KHz, 48KHz, 88.2KHz, 96, 176.4KHz, 192KHz, 384KHz (Coaxial)
• Bit Resolution: 16-32-bits
• RMS Power output: 200W x 2 @ 8 Ohms; 250W x 2 @ 4 Ohms
• THD+N: 0.005%
• Frequency Response: 10Hz to 50kHz
• AC voltage: (90VAC~130VAC // 210VAC~ 250VAC) With Voltage Select Switch
• AC Fuse: Slow-blow, 3A, 250VA
• Color: Black or Silver
• Product Dimension:  55 x 235 x  281 mm (H x W x D)
• Package Dimension: 80 x 390 x 360 mm (H x W x D)
• Product Weight: 4kg
• Package Weight: 5kg
• Warranty: 1 year.

All about the new Monitor Audio Studio 89 speaker system.

The primary definitions for ‘Studio’ are; the working place of a painter, sculptor, or photographer or a place for the study of an art.

It’s 35 years since Monitor Audio first appended this name to a speaker system, hence the ’89’. But I don’t want to invoke the past when looking at a speaker system – so much has changed since then. And the Studio 89 isn’t a rehash of a decades old design – it’s an update on a completely modern speaker, the Monitor Audio Studio that was launched in 2018 and remains my favourite Monitor Audio model.

Read More “Studio 89 – the ‘Mini-Hyphn’”

As we make the move to streaming services, for many, the idea of an elegant and simple system as a substitute for the traditional collection of components, makes sense. So, it’s time to seriously look at all-in-one systems. The aim is to fill your room with quality music. Let’s learn about how to make this happen.

Both Tivoli and Sonus faber have been core brands for us for the better part of 20 years. While they come from opposite ends of the spectrum in terms of price, they both have sound quality at the heart of what they do. The more you know about the history of both, the more parallels you see.

So here we are in 2022 with two complete systems from Tivoli and Sonus faber that come to a remarkably similar end point – the best Tivoli sound ever and the most affordable SF experience ever; how do they compare?

How we listen to music has changed remarkably since the inception of both companies, yet they have adapted, and indeed excelled in meeting the challenges of a rapidly evolving market. We’ve gone from analogue to digital and CDs to streaming. Yet the basics of what makes great sound haven’t changed that much; while being technically adept is a given, being able to deliver a sound that’s both satisfying and involving takes more and that’s where the experience of both companies comes to the fore.

The ‘Tivoli Music System Home Generation 2’ and ‘Sonus faber Omnia’ to give each it’s full official name are complete systems in their own right. 

The Tivoli is a funky almost retro design with roots in modernism. If you’re into architecture – it adheres to the ‘less is more’ dictum and has just 3 front panel controls. The brushed aluminium front plate, light fabric speaker covers and curved walnut cabinet are design statements in their own right.

Sonus faber pull out the stops with their aesthetic; the Omnia is evocative of a James Bond lifestyle, curvaceous and sleek with a beautiful walnut top panel inlaid with a series of illuminated strips that also serve as control and display. The dash panel of a high performance car, the deck of a bespoke Italian speedboat.

Both components have their roots in previous models. Tivoli originally produced a system of separate components which were then amalgamated into a single box – the first epnonymous ‘Tivoli Music System’. They improved upon this with the ‘Art’ system – their first foray into wifi. The new Gen 2 system is vastly better again and we’ll explain why shortly.

The first Sonus faber model ever was a wildly unconventional speaker system in 1980 dubbed ‘the snail’ which probably loses something in the translation from the original Italian.

In 2016 this concept was revisited with their first all in one system – the SF16 – which was extravagantly engineered and had the end price to reflect this. These provided the groundwork for the much more affordable Omnia. Read more about these here.

While Tivoli and Sonus faber have their roots in Europe and the US, they make the most of the unarguable advantages of Chinese manufacture to keep their systems both affordable and consistent in quality. Tivoli have long done this and Sonus faber gained valuable experience with their Venere range which informs the Omnia.

Underneath the physical, is the controlling software which is at the heart of any streaming experience. In the recent past many companies attempted their own controlling Apps but this has proved to be a massively difficult challenge for all but a few, so both Sonus faber and Tivoli concentrate on broad compatibility. Apple AirPlay 2, Google, direct connection to Spotify and Tidal, Bluetooth AptX. 

While ‘Bluetooth speaker’ has become shorthand for a plethora of devices there is a world of difference between those and the two systems we’re examining; what we have are viable alternatives to the traditional component systems. I’ll go further – it’s difficult if not impossible to construct an equivalently priced conventional two speaker and amp system that matches either the sound quality or capabilities of these options. While we have undeniably higher performance options in separates, they can and do cost significantly more.

The Tivoli and Sonus faber systems give you great ‘out of the box’ performance and relatively simple operation that anyone can easily master. But in both cases you can fine tune and optimise to reach a really worthwhile level of performance. I’ve now spent a lot of time with both systems, in my office and in our living room, and have to say, I’m impressed. So let’s look at them individually.

First the Tivoli Music System Home Gen 2. While previous iterations have included a CD player, the improvements made with both this system and streaming services such as Tidal and Spotify have rendered disc playing effectively obsolete – there’s no longer any sound quality advantage, and to not have to deal with both the cost and inherent reliability issues of disc spinning enables you to have a considerably better sounding system at around the same price as the older version.

if you don’t absolutely need a CD player, the new Gen 2 is an easy choice over the original CD Playing Music System BT version which is still available. Tivoli Radios have been a phenomenon over the years simply because they made radio sound appreciably better and anyone could hear this. 

The new Music System is just the same in this regard but what really stands out initially is the bass – it’s amazingly muscular and defined. In part this is because the default condition is to have the bass boost turned on which is a slightly cunning marketing choice and for many genres, I’d be more than happy to stay at this setting. The Tivoli does convincingly pull off the ‘sounds bigger than it is trick’ but in fairness I’ve gone back to the flat setting when making comparisons.

The Tivoli employs 4 forward-firing drivers, so it’s mimicking a pair of small bookshelf speakers, and this is very much how it sounds – hence bass, even when boosted, remains coherent and tuneful. The earlier Music System used a downwards firing subwoofer which doesn’t work as well. 4 higher quality drivers work better than 5 lesser units.

The feet that the Tivoli stands on aren’t an affectation – they work in a similar way to quality speaker stands, isolating the unit from the shelf and allowing it to better project sound without colouration. It sounds great in almost any setting and isn’t compromised by placement.

Being a Tivoli, there is a very capable radio section with FM and AM (DAB is in there for other countries). The selectivity and sensitivity is on par with other Tivoli models, but as always your location relative to transmission will determine the number of stations and how good the sound. Add to this an auxillary line input, bluetooth and optical inputs.

I really like this Tivoli – you’ll hear the quality of drivers and the construction in the same way that I do – the sound is sweet and balanced. There’s often surprising levels of detail and it makes differences in source quality obvious. Being still a bit of an Apple person I do a lot of my listening via AirPlay, and it’s hard to fault. Tidal works exactly as it should and what I listen to with the direct connection is surprisingly good considering we’ve got Lumin based systems here that are vastly more costly. But, I’m actually happiest playing albums from my Bandcamp collection on the Tivoli – it gets vocals right, in a way that the brand always has. 

The Tivoli probably hasn’t got the love it deserves from both us and the hifi world in general as we’ve been chasing more esoteric systems. Perhaps your traditional Tivoli owner has permanently bonded with their little table or portable radio and can’t quite get their heads around a complete wifi based system. I’m a big fan of the modernist aesthetic that’s inspired Tivoli – put it beside your Eames chair and you’ve got the classic form follows function thing happening.

Which brings us to the Sonus faber Omnia. Described as an all-in-one high end wireless speaker by a company that defines both luxury audio and the high end of loudspeaker design, the Omnia demands to be taken seriously. While by far the most affordable way to get into Sonus faber, it’s significantly more than the Tivoli system, despite the obvious functional similarities between the two. So just how and why is the Sonus faber better?

The Omnia sits lower, longer and sleeker than the Tivoli. Its curves hide 7 separate speakers – a frontal array of four midrange and treble drivers, two side firing units and a down facing subwoofer all driven by a total of 490 watts of Class D amplifier. The Omnia is described as a Stereo 4 way DSP optimised closed box system. While Tivoli have never disclosed any specification, Sonus faber give us both the above power rating and a frequency response of 30 Hz to 25kHz. This is right in the territory of their larger floor standing loudspeakers.

Not to take anything away from the Tivoli, the Sonus faber is dramatically better but it’s also more demanding when it comes to getting the most out of it. And to do this you really do need to read the on-line manual and set it up properly. There are several options in the webpage based menu – loudness compensation, the Crescendo DSP and free or near wall positioning that all have a significant effect on the sound.

As you’d expect the Sonus faber Omnia delivers a much more expansive spacious sound. The Omnia also has a pronounced run in period as both electronics and drivers settle in and being to move as they should. So straight out of the box the two systems do sound more alike but over time the performance diverges and you really start to understand just how much work and experience has been poured into the Sonus faber system.

As we’ve already intimated, both the Tivoli and Sonus faber Omnia have forms of bass control which is set to the higher level as the default –  with Tivoli it’s straight forward front panel adjustment. The Omnia can be reset for via its setup webpage and a QR code and we’d recommend that you do this at the outset or if listening, make sure you know how the unit is set up. For more information on this the FAQ section on Sonus fabers Ominia page is excellent.

Sonus faber has gone through a process of renewal since the passing of founder Franco Serblin. Without giving up on their heritage of craftsmanship and a devotion to an organic and emotionally involving sound, the influence of a new younger generation of designers and their more modern musical tastes is undeniable and made obvious in new ranges such as the Lumina series.

The Omnia system is part of this new ecosystem and brings the values of Sonus faber to a whole new audience. And enables existing Sonus faber owners to have a simple streaming system you can enjoy and recommend to your friends and family.

The Sonus faber Omnia is, as the name suggests, trying to be the best of all worlds. The speaker array and use of plywood may be an inadvertent echo of the Shahinian designs – Omnia is effectively omni-directional. So rather that relying on a pair of separated speakers to produce a stern image between them, Omnia projects outwards and applies some DSP – Digital Signal Processing – given the more musical name of ‘Crescendo’.

And this works remarkably well – the Omnia creates a sense of space and scale with a credible soundstage that’s apparent not just from a frontal listing position but all through the room. In an open plan environment the Sonus faber sound carries and remains coherent and balanced in a way that considerably more costly forward firing conventional speakers often fall short of. In technical terms the off axis performance is remarkable. This is something we aim for in our best systems but to have a delivery at this level is something else.

You can easily hear the difference the Crescendo processing makes as it can be switched off in the webpage menu – personally I’d never want to be without it now I’ve tried this. It’s positively cinematic and funnily enough does wonderful things with soundtracks. Extending this theme, the light show from the top panel display plus the downlight highlighting the subwoofer is quite spectacular in a darkened room and makes Omnia a real centre of attention (and you can opt for a power down mode which keeps things civilised when you’ve gone to bed). 

Tonally, the Omnia is agile and alive in the same way as the Sonus faber’s new Lumina speakers. Both can really kick when you want, but never break into harshness. Give Omnia great signal via the likes of Tidal connect and it can really open out with a power and authority that is directly comparable with serious larger speakers.

Both the Tivoli and Sonus faber do background music perfectly – at these lower levels, the differences between the two diminish and in both cases, with bass management you’ll get a pleasingly rich sound. The real contrasts between these systems become obvious when you take things further. Be it an orchestra in full flight or something a whole lot modern and challenging, the Sonus faber Omnia will quickly show you why it’s at the next level.

There are two other significant features that the Sonus faber has; The Omnia is Roon ready which is important for many with a stored digital music library. And it comes with a phono stage (which can be switched to line level). This input offers very good sound quality which more than justifies a quality turntable such as the similarly priced Well Tempered Simplex 2 which just happens to share the Omnia’s plywood accents.

These systems offer you an honest certainty in terms of performance; they have enough adjustment to allow you to get the sound you want in any environment and placement. The rapidly improving sound quality associated with streaming services and almost infinite choice of music, combined with software and firmware for the actual units mean you can look forward enjoying them more over time.

Each could be the perfect office or bedroom system yet both have the talents to be your primary music listening system. It really just depends on your level of expectation and budget. For this article I’ve made a conscious choice not to listen to our much more costly systems as a comparison and have looked at both the Tivoli and Sonus faber on their own merits. The Omnia in particular has won me over – it generates a remarkable sense of space, a very real soundstage. And I absolutely love the look; if this is a reinterpretation of how a modern music system should be, count me in.

Tivoli Music System Home Gen 2 NZ$1995 including GST & delivery.

Sonus faber Omnia NZ$3995 inclusive