Listening to two new components has got me thinking; how far can we go with home audio systems and are we hearing real improvements?
First let’s take a deep dive into the world of vibration reduction with our Italian friends Bassocontinuo. Last month we introduced you to our experiences with their entry level Lyra rack. It started the conceptual leap of thinking of a rack, not just storage for your system, but something that could make a worthwhile improvement. So we’ve ended up listening to Bassocontinuo’s flagship carbon fibre rack – the Aeon X. And we’ve had to completely rethink what is possible and just how much of a contribution vibration reduction and isolation can make to the sound of your system.
That answer is a lot more than we ever expected. In hindsight we should have known this; most music listeners appreciate that you can hear relatively modest improvements made to a system with cables and set up. The Aeon X rack attacks the problems of vibration from several different directions applying materials research, solid analytical testing, innovative Italian design and experienced manufacturing capabilities. Each part of this approach makes a worthwhile improvement but when you put them all together the result is nothing short of a revelation.
What is even more important is that the system we used to establish this was simple, accessible and affordable. At first glance the Aeon X rack appears esoteric and costly. But as we quickly discovered, the profound improvement it makes more than justifies the investment. Compared with similarly priced components, a Bassocontinuo rack, especially in the case of the Aeon X, could well be the best choice you can make.
The little NuPrime IA-9X integrated amplifier (NZ$2450) is a lot more specialised. While Bassocontinuo are all about reducing distortion created by vibration, NuPrime reduce distortion with innovative circuitry. Amplifier design is so often about small incremental improvements and subtle changes to the character of sound that electronics produce. With the IA-9X NuPrime demonstrate that they can literally build an amplifier to sound how they want and imbue it with a unique and distinctive character. Even more interestingly, this is a purely analogue amplifier and is based on the flagship Evolution STA. Read more about why we find it so intriguing here.
It’s also fascinating to compare the IA-9X with NuPrime’s entry level power amplifier that we introduced you to a couple of months ago – the STA-100.
But back to the turtles; it’s an expression of the problem of infinite regress, where we peel back one layer to reveal better sound but in doing so, make it apparent that we can do it again. Because we now have a more transparent system so can more easily hear subsequent improvements.
Bassocontinuo state that you can’t eliminate vibration, only reduce it. But with the Aeon X they employ multiple techniques and components to reduce it many times over so when you listen, you hear an immediate and obvious improvement. We go down many layers of turtles in one hit.
The NuPrime IA-9X might appear to be more subtle in what it does yet if you have the right setting for it to go into, this amplifier can be just as impressive. It peels away layers of distortion to reveal a new version of the musical truth.
Music has near universal appeal and we never seem to loose our capacity to enjoy it. You can take it for granted yet the moment you hear a song you like rendered in a new and better way your enthusiasm is rekindled. This is why we’re constantly looking to improve our audio systems – there’s always a way to make things better and gain even more enjoyment from all the music you listen to. The Bassocontinuo racks and NuPrime IA-9X are just examples in a carefully curated range at Totally Wired. Talk to us now and we’ll find the right component to make your own system sound even better.
We’re not just about the new. Around 60 years ago the first SME tonearm was launched and it has proved to be one of the most enduring and respected components in audio. SME then launched a MK2 extended version – the 3012 (it’s 12” long) that delivered even better performance and is still highly regarded and in fact a collectable. We’ve had a client donate their much loved SME to us to run a charity auction for NZAVS – the NZ Antivivisection Society (I’m a volunteer director and secretary) – the auction still has around 6 weeks to run so check out our page on this and consider putting in a bid. These tonearms achieve quite astonishing prices on the likes of eBay but I’d really love it to go to a good home where it’s appreciated.
The new Well Tempered Labs Phono Stage is the product of several lifetimes in high end audio. In both absolute performance and value for money it is quite simply the best phono stage I have heard.
From the Wise Ones
The new Well Tempered Labs Phono Stage is the product of several lifetimes in high end audio – the primary designer is William Firebaugh, Chief Engineer at Well Tempered Labs (WTL from here on in). But there is also input from Frank Denson in New Zealand who, through his association with William, Dr Tominari from Dynavector Japan, Jonathan Davies (Australia) and Opera Audio in China, quietly stands at the centre. Frank has made this remarkable product happen.
Between them, Frank and William know more about turntables, cartridges and how to get the best out of analogue records, than I could ever hope to describe. For over 30 years Frank has encouraged my efforts and gently mocked me when I’ve taken wrong turns, but there is no-one in the audio industry I have greater respect for.
Last year I was sent a pre-production version of the new Well Tempered Phono stage – despite running the incorrect power supply to it, and being told next to nothing about how it should sound, what I heard made an indelible impression. Since then I’ve been waiting, sometimes impatiently, for the finished production units to arrive.
As a lifelong music and vinyl enthusiast, and owner of a good number of excellent phono stages over this time, I have to say the wait has been worth it. In both absolute performance and value for money (the WTL Phono is very reasonably priced and I’ll go into why this is so further into this article), it is quite simply the best phono stage I have heard.
This is an assertion that obviously warrants qualification but bear with me and I’ll explain why…
The design is, even if you lift the cover and look inside, deceptively simple. Let’s start with William’s own explanation pulled directly from the manual…
‘The necessary break points for the RIAA equalisation are distributed throughout the circuit in order to ensure optimum overall time response of the circuit as well as ensure the necessary frequency response. Normally the RIAA equalisation is effected with an arrangement of interconnected resistors and capacitors. Since the RIAA recoding process requires that the treble frequencies be substantially boosted relative to the bass frequencies, control of the time response is an important requirement.
The MM/MC Phone circuit employs state-of-the-art operational amplifiers. Using these devices ensures a low noise, high gain, stable and predictable design result.
I prefer using resistors of the carbon film type although metallic film resistors might have an edge for noise characteristics. I prefer capacitors with polypropylene dielectric.’
What this all means may not be self-evident to you so we’ll step through the three sections.
The process of making vinyl records is quite different from digital and the standards were set decades ago. In order to make both recording and playback work as a physical process, the frequencies of the original recording had to be significantly skewed – and then on replay this process has to be reversed. Doing this is a major part of phono stage design but for the most part, designers have simply adopted an orthodox approach and not surprisingly this means a lot of phono stages really don’t sound that much different from each other.
Go a step further and think about the broad range of frequency that records can store and cartridges can play back – effectively from 0hz to well over 60 kHz from even modest setups and how this is often truncated to a 20hz -20KHz range which has been arbitrarily set as both what we should be able to hear and a de-facto standard for most audio equipment.
Then consider that within these ranges the treatment of the signal may not be evenhanded – where this gets more conceptually difficult to grasp is the relationship of frequency (pitch) to time. Lower frequencies travel more slowly than high, and over the broad frequency range this creates a real issue – the sound will effectively be smeared, and as a simplistic example, the bass will be out of time with the treble.
William is one of the very few (and maybe the only) analogue audio designers to seriously address this and just in the same way that his turntables adopt novel and unconventional ways to solve issues of resonance and noise, this phono stage deals with both time and frequency rather than just the later.
This is why the Well Tempered phono stage makes such an immediate first impression – it does things in a markedly different way that gets us much closer to the original performance.
The second and third parts are more about component selection. The quality and choice of op-amps as solutions for amplifying music has improved dramatically over recent years, essentially as a by product of digital’s exponential development. The Well Tempered Phono stage takes advantage of this by using the very best available – this feeds into the end cost but I’ll explain shortly how the value side of things is maintained.
We then get to the section on the sound of the individual resistors and capacitors used in the circuit – this is something many designers of esoteric components make their primary selling point,and while I’m happy to believe that everything makes a difference (especially given my own experience with cables and connectors), this has to always be looked at as a ‘nice to do’ part of the process – each little part may well add to the end cost. So this has to be looked at in terms of the final product – does the sonic benefit justify both the cost and selection time involved?
That said, if I’m going to trust anyone to make these evaluations it’s people like William and Frank who have consistently delivered better sounding products.
Taken as a whole, the unique design and the cumulative effect of multiple small but significant component selections add up to an obvious and worthwhile performance advantage.
Design is one thing, manufacture is another. High end audio has long had an uneasy relationship with sometimes brilliant design but costly and inefficient implementation, often by extremely small (essentially one man) operations. This is often compounded by the need to sell products which means the ‘look’ and marketing end up being a big part of the end price.
The connection between Well Tempered Labs and the Opera Audio company based in China solves this issue. I know there can sometimes still be some bias towards different countries but China operates on a scale and level of efficiency that few in the west can grasp – they have a heritage of craftsmanship and a relationship with music that goes back in millennia, and a thriving audio industry that dwarfs both our local and most internationally recognised brands.
The fact is that just about every electrical component in a New Zealand, UK or US made audio product comes out of China or Asia. Building components at the source location therefore just makes sense if you are able to do it. So Well Tempered works with Opera who take care of building The WTL Phono Stage.
The physical design is intentionally straight forward – it’s a rectangular black metal box, no bigger or smaller than it has to be to accommodate the internals, and is finished to a standard above utilitarian, but not needlessly glitzy. The RCA sockets and connections are similarly non-branded but I have no doubt they have been selected with both sound quality and reliability as a priority. Thus you benefit directly from the economies of scale, with lower component and manufacturing costs. We also see a level of consistency and reliability which small operations struggle to match in the real world.
The two parts – innovative design and efficient manufacture come together to give you both sound quality and value.
For all this The WTL Phono Stage exists in a world where the percentage of people that will have both the means and the inclination to invest in serious analogue playback is limited. Yet the enjoyment provided is up there with the most hedonistic pursuits – but without the consequences. Within this small but enthusiastic market we are effectively a community where, if word of a better way of doing things gets around, we can all benefit. Which, in part, is why I’m going in to such depth.
Set up and matching.
Setting up the WTL Phono stage is very simple – the connections are straight forward with RCA in and out, and a press fit earth terminal that accepts bare wire. The 24 power supply is rather larger and heavier than usual and has a snuggly fitting 3 pin socket that locks in place. On the bottom there are two sets of dip switches– one for each channel.
The first 3 switches on each block set the gain (how much the WTL amplifies the sound) and so you are able to adjust for a wide range of cartridges both moving magnet and coil. I found the second and slightly higher setting to be best with the Nagaoka MP150 we first connected – it’s not often we have the luxury of being able to adjust gain with MM and it certainly proved worthwhile.
The next 3 switches adjust the loading impedance which is primarily a feature used with MC cartridges although the is a 47K ohm setting which is the accepted standard for MM.
It’s worth noting William’s comments in the manual on this – ‘there are many factors that contribute to the optimum loading of phono cartridges that include cable, preamplifier etc and we recommend starting with the lowest impedance setting closest to the manufactures recommendations’
‘In my experience, MC cartridges loaded with 47K ohms yield and excellent result and 47K is what I have used for some time now.’
For use with our low output MC – the Dynavector DV17Dx we set the gain to 1300 and impedance to 150 ohms – this gave a similar level of output to the Nagaoka MM and there were still 4 higher available gain settings. In other words the WTL Phono stage has more than enough output to match any low output moving coil cartridge AND drive any integratedor pre-amplifier to it’s optimum level.
There is a perception that you should exactly match cartridge and phono stage specifications in order to enjoy the best sound but this paints a simplistic picture.
As you have read above William has a preference for a much higher input impedance when listening to MC and if we look at another example with the NuPrime Evolution One power amplifiers which have an extremely high input impedance, there is certainly a good case to be made for this approach.
Often you’ll be told to select the option that sounds best yet when you try, it can be difficult to actually hear a worthwhile difference. I to, have found that fine tuning cartridge loading to be so subtle as to have just given up. But with the WTL, these selections have become much more obvious. The only conclusion we can come to is that with it’s higher resolution and transparency, we have crossed a threshold. As a by-product of this, I also re-assessed the set up of my turntable and found that it is even easier to hear small changes to the physical parameters such as arm height, damping and tracking weight. The end result is not just better performance through the sound of the phono stage, but a significant overall lift because it is now possible to fine tune in a meaningful and repeatable way.
William also recommends that you employ as good as possible interconnect cables with The WTL Phono Stage. For the output side we have found Keith Eichmann’s KLEI interconnects to be the best choice and with a range from around $350 to more than the cost of the phono stage there is plenty of choice. On the input side a little more experimentation may be warranted. Many turntables have their own cables and outside of upgrading the RCA plugs there may not be any options to change these.
The Sound of WTL Phono.
It’s always good to have a well regarded and long runningbenchmark from which to make any comparisons and the Dynavector P75MK4 serves this role – there is a relationship between the two designers and so we have no conflict in terms of outlining what the WTL does better, especially when many Well Tempered turntable owners are also Dynavector clients.
On moving magnet the WTL is dramatically better and it’s in this setting that both my pre-production and first listening of the finished unit is based.
With both higher quality moving magnets such as the Nagaoka MP, Ortofon 2M ranges and specialist cartridges such as the WTL TLC and high output moving coils such as the Dynavector DV10X5 & 20XH, there is absolutely a case for a superior phono stage.
The lower cost of these cartridges (when compared with most worthwhile moving coil options) is not a reflection of constrained performance but simpler construction. With the better units the stylus profiles are every bit as good as much more costly cartridges and the higher output delivers much better noise performance. MM cartridges are often better in terms of tracking ability and broad compatibility with various tonearms.
The WTL Phono allows MM cartridges to bloom and involve in a way I’ve never heard before – albums sounded like they had a completely remixed and improved production with entire threads of vocals and instrument lines being clearly revealed. There is pace, yet the music sounds more relaxed and flows with no hard edges (except where intentionally delivered). Percussion is remarkable with drum hits gaining impact but also seeming to be more realistic and organic – i.e. we hear the sound of a wooden drum stick hitting a skin rather than just an impact. The difference between a real drum kit and performer is distinct from the electronic version – yet the latter is even more clearly carried in the production and you can hear nuance that simply wasn’t there before.
The MM performance really stunned me – there were clearly things going on in there that were not previously revealed in a much more costly setup of both turntable and low output MC via the Dynavector P75MK4. Not only this, but both surface noise and any background hum was appreciably lower and it seemed that setup and matching was much easier.
Well Tempered have a history with Phono stages – the lower cost RIAA is still a current model and the TTP – a two box tube based design that was also MM only will have helped in providing a base to work from.
The easy switching between gain settings with the The WTL Phono Stage is immensely useful with MM – not only to deal with the varying outputs but also to work with the differing input sensitivity of preamplifiers. We are now able to fully optimise and gain a full dynamic range which rivals any MC system. This should be of particular interest to anyone with an Ortofon 2MBronze or Black.
The sound-staging is also remarkable. Again this has always been a selling point for MC over MM yet The WTL Phono Stage changed my perspective as to what is possible with even quite affordable moving magnets such as the Nagaoka MP-150. Combined with the extra dynamics afforded by correct gain setting and the remarkable lucidity, The WTL Phono Stage made me seriously question the higher endsystem we’ve assembled.
For a great many listeners, the results with a MM or high output MC will be all you could ever want. On a purely economic level, I’ve always appreciated the lower cost of many MMs and ease of stylus replacement. It is also clear that the combined cost of a good MM and the WTL at $2500-$3000, is less than that of many MCs and phono stage, and what I hear suggests that the former is by far the better option. Especially if you factor in the cost of stylus replacements over time. Remember we are always looking at an analogue combination as a whole – turntable, cartridge and phono stage (plus the connections).
The WTL makes the gradations between MM cartridges more obvious than I have previously found. There is a vast difference laid out between Nagaoka MP110 and 150 with the latter proving to be far more sophisticated in it’s rendition. The WTL TLC while based on the MP150 shows a much more articulate character and by turn the latest MKII version of the Dynavector DV10X5 delivers a cinematic soundstage by comparison.
All this taken into account, the potential with a high quality MC is greater again so the next question is how does the The WTL Phono Stage handle this relative to the Dynavector? In our own system, the match of the DV17DX cartridge and P75MK4 has been effectively optimised by the unique PE – Phono Enhancer – mode. And up until now, that really did seem as close to ideal as it was possible to get.
The Well Tempered again improves on the Dynavector P75 but in different ways.
The WTL Phono has a warmer overall sound with a more organic and realistic bass – percussionof all types is better handled with greater depth and impact and a far more convincing sense of texture.
Vocals are more intelligible – the P75Mk4 gives the impression of pushing vocals forward but I can now understand that the different bass qualities highlighted bythe WTL provides a more realistic overall balance.
Surface noise is definitely reduced with the WTL – the sound is more relaxed yet still has immediacy and bite when required. In some analogue systems I’ve heard surface noise effectively placed in the outer parts of the sound stage but with the WTL it is uncannily absent – I’m not quite sure what is going one here as the low level detail, especially the fades at the end of tracks are revealing a lot that I’ve never heard before.
The work done on the temporal front of the design is markedly more obvious with MC – the relationship between different instruments where each is voiced over different frequencies – for instance bass and lead guitar – is presented in a way that just makes far more sense. The musicians are playing together in terms of timing and it’s much more apparent that they are distinct instruments yet part of the same performance.
Subtle changes in tempo are much more obvious – be it a drummer shifting up a notch or the bass line being produced by a human rather than a machine.
As with MM the range of gain settings is broad and easy to change – you can do this quite happily while playing with no obvious clicks. And there is a truckload of gain on tap – as much as twice what we found optimal with the DV17DX and little NuPrime HPA-9 preamplifier. Overall the WTL will work with a broader range of cartridgesand amplifiers than the Dynavector.
Most importantly we have established that even with Dynavector cartridges and running in PE mode, the WTL Phono is still appreciably better. For other cartridges and in normal or MM mode the improvement is greater again.
None of this implies any sort of criticism towards the P75MK4 – it is a stellar performer given it’s cost and with each iteration the P75 has become markedly better.
But the way the WTL improves things in the time domain is obvious – the way the music flows anda greater sense of ease is one part but also the treatment of the leading edge of notes. The slight sense of edginess with the P75 is translated into a more nuanced and detailed approach.
On top of this I strongly suspect the more robust power supply and greater possible gain contribute to the impression of greater depth. The WTL has a linear supply whereas the P75 has a very special switching circuit, and while the P75 has predominantly small surface mount components, you can see larger more conventional parts within the WTL – William’s selection preferences and greater budget are likely to also play a part in the sonic differences.
There are some real paradoxes when comparing the new WTL Phono Stage with the Dynavector P75MK4. I get the feeling the Dynavector has been intentionally optimised for low output MC. But the WTL does amazing things with Moving Magnets that leave it for dead and in many ways take the performance of these lower cost cartridges to a level above the P75MK4 with many coils.
The WTL does certainly respond to low output coils of higher quality but the performance advantage over the P75 in this regard isn’t quite of the same magnitude – but this has to be taken in the context of this review only considering the DV17DX and P75MK4 in PE mode. It is highly likely that in other contexts the magnitude of theperformance jump will be at least the same if not higher than I’ve found with the MM comparison.
The Dynavector also makes LPs sound more consistent with each other – now I have another reference it appears that the P75 has a distinct colouration that overlays the sound of every record. The WTL stands in contrast by laying bare the differences in production values between records.
I’ve been listening to a very broad range of LPs while evaluating The WTL Phono Stage – some older (30+ years) LPs while revealing much detail that I simply never remember hearing are also sounding somewhat thin and compressed when compared to new pressings and productions. In part I feel that modern recording techniques – especially the software that is often used, have advanced recording quality. The standardisation of 24+ bit recording while obviously digital is enabling some fantastic productions from an incredibly broad range of artists.
Remembering that the whole analogue recording process does involve a level of manipulation because of the mechanics of vinyl production and the RIAA standard, the approach taken by William Firebaugh is proving advantageous to even digital masters.
And as I’ve suggested, the way in which the WTL works almost sounds like a new interpretation or re-mastering with many recordings – the difference is that great. While we don’t havea directly comparable phono stage or a master recording on hand to test the veracity of this idea, I do, in many cases have a reference back to the actual performances of the same bands and artists when seen live. It may come down to a gut feeling but for me, the WTL is the best I’ve heard yet in this regard. And by a good margin.
Unlike another product which I’ve recently reviewed that also has a distinct ‘live’ sound, the WTL is much more transparent and isn’t creating an overlay or character that gets in the way of the music. It does make the differences between productions more apparent rather than less but for the good ones that’s stunning. For the lesser ructions you’ll still get something but maybe not to the same degree.
That said, the unexpected reduction in surface noise is a real boon for record on even the most scrappy records. I’m really not sure why this seems to be a feature of the sound and normally this world suggest some kind of filtering but none is evident.
Unlike many other new components we have listened to the warm up period for The WTL Phono Stage doesn’t seem to be that obvious. This may have been obscured by changes we made between turntable systems and the changes of setup prompted by the greater resolution, but the qualities that convinced us in the first instance remain consistent. I do suspect that we are hearing subtle improvements in low level detail over time but the relative (and deceptive) simplicity of the circuit with fewer but high quality than many digital components would account for this.
The power consumption of the WTL is modest – just 20 watts so it barely runs warm and should be left on continuously unless the system is not going to be in use for a week or more. The lack of any switching is a fairly clear indication of the designers intentions.
While the Phono comes with a dedicated 24v power supply included, Well Tempered have released a new turntable power supply intended for the Amadeus 254GT, Royale and Versalex called the ‘Ctrl’ which has a 24v connection for the Phono and may well deliver even higher performance.
The new Well Tempered Labs Phono Stage sets new standards in both value and performance. The unique implementation of RIAA processing provides a new and better interpretation of vinyl record replay which is, paradoxically, most striking when applied to moving magnet systems. In doing so it causes us to question the assumption of placing precedence of the cartridge over the phono stage.
On top of this, The WTL Phono Stage also works it’s magic with low output moving coil cartridges, and with an extremely broad range of easy to adjust settings, is compatible and indeed optimal with virtually any phono cartridge and amplifier on the market today.
The WTL Phono is our best performing phono stage offering you real material value for money and build quality. It delivers exactly what the Well Tempered Labs promise – ‘new music from your records’, making analogue both relevant and viable for any enthusiastic music listener.
The Well tempered Labs Phono – NZ$2100 including GST and and delivery.
The new Cambridge Solo is the perfect introduction to analogue at just $295 inclusive.
The Well Tempered Labs RIAA ($610) is all about bringing high end analogue performance to the masses. The RIAA Phono stage is gusty little box. It is specifically designed for moving magnets such as Ortofon, WTL’s own TLC cartridge or high output MC cartridges like the Dynavector 10X5.
The Dynavector P75 MK4 ($1250) has been the go-to phono stage in New Zealand since it’s introduction in 2003. Over time we’ve seen a series of significant upgrades and now we’re thrilled to introduce you to the MK4. The new Dynavector P75MK4 is the most substantial re-working of the design with by far the greatest advance in performance.
The new Well Tempered labs Phono Stage ($2100) sets new standards in both value and performance. The unique implementation of RIAA processing provides a new and better interpretation of vinyl record replay which is, paradoxically, most striking when applied to moving magnet systems. In doing so it causes us to question the assumption of placing precedence of the cartridge over the phono stage.
I’ve got a little list… there is such a thing as too much choice and it’s easy to get overwhelmed by all the alternatives. So we did the Kondo thing and asked ‘what sparks joy?’ Components with an identifiable and unique character that can deliver benefits in almost any system are what we all want, so here are our 10 best for 2019.
While loudspeakers which come in at over 20,000 euro are going to be but a dream for most of us, the review linked to below is worth reading, not only to gain an insight into the serious high end, but also to see how some much more affordable products we put in NZ homes rate in this context. You’ll see the PrimaLuna tube amplifiers finds honourable mention and the NuPrime ST-10 gets an even more enthusiastic recommendation.
‘the ST-10 really brings the Sabrinas to life! Where all other transistor amps seemed dynamically a little restrained and only the PrimaLuna provided the kind of subjective dynamic swing that I crave, the NuPrime ST-10 has a kind of energetic presence that none of the other amps (transistor and tube) could match. Transient crispness and dynamic impact are really startling, better than with any of the other amps. Bass with the ST-10 is also incredible, not in a big and fat kind of way, but tuneful and articulate with just the right amount of pressure. Meanwhile the NuPrime’s very pure tonality and open and communicative character further increase the Sabrina’s timbral believability.’
We’ve also got some really exciting news from NuPrime in the last few days – the are 3 new high end amplifier models on the way. First up will be a mono version of the ST-10 above – the new ST-10Ms will be much more powerful, and even better sounding – the perfect upgrade for anyone who wants more out of their music.
Even better will be the new Reference 20E. Like the ST-10M above these are mono amplifiers, but each around twice the size (although this only makes them normal width and they’re still in a slimline profile.) This is a completely new design from Reference 20. which will be a big improvement on ST-10M and that will surpass Ref 20’s 420 watts per channel in power and resolution.
We hope to have the new ST10Ms here before the end of January and the Reference 20Es shortly afterwards. And offer generous trade in’s on existing NuForce and NuPrime models.
Reacquaint yourself with the NuPrime 10 products here.
We’ve continued to enjoy the new Monitor Audio Silver 6G 300s since we first posted the first full review of this model here. Just to show we’re not too far off the mark in our praise of these speakers, the Monitor Audio Silver 300 has received the prestigious Product of the Year award from The Absolute Sound at their High End Audio Product of the Year Awards.
In their January 2018 issue, Robert Harley described the Silver 300 as having “a compelling array of musical virtues”. This included, “terrific speed on transients, effortless reproduction of dynamics, and overall sense of musical coherence.” The bass was also praised, with Robert saying it is “detailed and resolved, providing a clear sense of pitch”.
The full feature will be in The Absolute Sound: Issue #279.
Add this to the fourWhat Hi-Fi Product of the Year awardswhich they have just received for 2017 and it’s clear that these are speakers you should seeking out. We’ve had a number of enquires lately from our original Image pages – we liked these speakers a lot at the time and really felt there was a case for unconditional support of NZ made.
But the reality is that overseas specialists have upped the rate of development, producing better and better products which now eclipse them. That said – we still work with Gary Morrison and Ross Stevens at Pure Audio so if there is a niche for the local product we’ll be there. And it’s worth knowing that there is NZ input in products from Dynavector and the Well Tempered Turntables but these days it’s all about collaboration and going to where the best resources are.
Working from home has given me much more time to both listen and write. For analogue enthusiasts, you may have missed them the first time around but we’ve got new pages up on both the Well Tempered Simplex 2 turntable and the Dynavector cartridges. What has been most striking for me that with all the components and systems we’ve set up in our new home showroom, the improvements made over the run in period (let’s not tempt fate and call it burn in) have been greater than we’ve ever experienced before – and the time involved is also stretching out. It’s not that they aren’t sounding good from the outset – but that one, two or even three months down the track, were still getting moments where it’s become obvious that the sound quality has stepped up significantly from the previous days.
Our partnership with Keith Eichmann and his KLEI cable range has a lot to do with this. I never would have credited the scale of improvements made by these cables unless I’d heard it first had but every few weeks we get vindication in feedback from clients. We’re getting much greater transparency in all our systems because of this, and not only do the cables also have a well documented run in period of 300 hours or more, but they make the progress of all the other components in the system much more obvious. So if you combine the individual effects of each components and cable, by the time we look at a system as a whole, the concept of running in has gone from subtle to transformative – even on systems that we might have regarded as quite modest.
But enough of in-doors pursuits. It’s a much better summer than last and we aim to get out and about in this beautiful island over the next few months. I’ve just discovered Kā Huru Manu – The Ngāi Tahu Cultural Mapping Project. This fantastic site is dedicated to recording and mapping the traditional Māori place names and associated histories in the Ngāi Tahu rohe (tribal area). Place names are tangible reminders of history and values. They represent a significant symbol of the Ngāi Tahu historical association and relationship with the landscape.
My own knowledge of the history of Te Waipounamu has a massive hole in the middle – a degree in geology informed an understanding of the physical island and timespans of millions of years. And I, like many, grew up with a very conventionally edited story of our colonial history. To know where you are going, you have to learn about the ground you stand on and respect the people that came before you – Kā Huru Manu is the perfect place to start.
So that’s it from us for this year – we wish you all the best and look forward to hearing from you in 2018.
All about the new Monitor Audio Silver 6G 300 floorstanding speakers, the new Well Tempered Simplex turntable, your best choices in the Tivoli Radio range and wrap up of Cambridge’s latest disc players.
Back to the beginning – making your records sound better. Your best choices for cartridges and phono stages.
The delivery of the flagship Well Tempered Royale 400 to a client and impending arrival of the new Simplex II turntable has got me thinking about analogue and how it fits in to the modern music listeners life. There is obviously still interest and enthusiasm for vinyl and as well as turntables, we continue to install and send out a steady stream of styli, cartridges and phono stages.
A well set up analogue system is a thing of beauty and will give you many hours of enjoyment and relaxation. Having your turntable sounding great does take a little bit of investment and effort but there are few things in the world of audio that will respond as well to even small improvements.
Let’s investigate several ways we can help you get more out of records – the phono cartridge, phono amplifiers, plugs and cables. And talk alittle bit about record care.
The whole idea of listening to LPs is that it’s going to be better and more rewarding than digital. As digital has improved dramatically since the inception of CD, the competition to an analogue system has got tougher and we expect more. But the good news is that modern analogue is up to this challenge.
In the first instance, the quality of new LPs is the best it has ever been. It may seem counter-intuitive but the rise of digital has made production much easier and lower in cost. What used to only happen in purpose built studios can now be done on a laptop. And within studios technology has also raced forwards so the level of production we’re hearing on most new releases is far better than the days of cassettes and vinyl.
Add to this the greatly improved standard of pressing of records – just about every LP I’ve bought in the last few years has been thick, flat and clean – and you have a recipe for real analogue enjoyment that is a completely modern alternative rather than just some nostalgia trip.
This is not to say there isn’t still a place for preserving, collecting and playing old vinyl – as an archival format goes it still takes some beating. With a new cartridge, phono stage and maybe even turntable, you’ll get far more out of your records than was possible when they were originally pressed.
The stylus and cartridge are very much the business end of any record playing system, being in direct contact with the LP and converting the physical movement of the stylus into the electrical signal which flows through your hifi system. So your choice of phono cartridge will have an immediate and direct bearing on the sound you hear.
And your choice is broad – from the entry and mid level Nagoaka models at around $200, the specialist Well Tempered items, to the state of the art Dynavector Moving Coils, we’ve got the perfect choice for almost every turntable and level of expectation.
Until you have owned a Dynavector Moving coil cartridge it can be a little difficult to explain just how good they sound. Having worked my way through many different cartridges at home and installing even more on clients turntables, it’s the Dynavector that always makes analogue magic. The sound is unfailingly rich andengaging. Read our just-updated page covering the Dynavector range here.
The Well Tempered TLC is based on the Nagaoka MP150 which is a recommendation in itself (and in both directions). This is your best MM option. Well Tempered also make a very special MC cartridge with a a New Zealand connection. – The Kauri.
The Nagaoka MP series are easily the most popular choice for the budget minded – although in similar price territory to the Ortofon range they offer much more – it’s a richer, fuller, more upfront sound yet with less surface noise. It should also be noted the replacement cost of Nagaoka styli is much less than the Ortofons.
With all cartridges and styli there is a working life of between 1000 to 1500 hours – you might be able to squeeze out a bit more but chances are you’ll be doing no favours to your records and the sound will be less than involving – if you haven’t been using your turntable much lately this will be the reason why. While just replacing the stylus is the default option, the best this can do is take you back to where you started. Why not take the opportunity to upgrade by slotting in a more modern and better sounding design?
The next step for vinyl enthusiasts is a phono stage – the importance and performance gains to be had by selecting a better phono stage or amplifier are easy to underestimate. Until you hear them.
Having the personal experience of stepping through a broad range of both cartridges and phono stages it has become obvious that the effect of the latter is at least as much as that of a cartridge. And that the benefit of improving both is cumulative – i.e. you’ll get better value and sound from your turntable system by considering both, either at the same time or by taking a stepped approach.
While replacing a cartridge or stylus is usually a ‘must-do’ because of either wear or damage, an old or inbuilt phono stage will slog away forever so can be put on the back burner. Yet it all goes back to our original proposal that the whole idea of listing to records is to enjoy better sound. Even our lowest cost phono stage – the new Cambridge CP-1 – is better than just about any built in unit and from there the performance gains leap away.
The NZ made Pure Audio Vinyl is by far the best we have heard. Everything we love about analogue is there – it’s open and transparent, powerful and dynamic when the music lights up, yet unnervingly quiet so you’ll hear the finest details as tracks fade away. The build quality is luxurious – for any moving coil cartridge owner, the Pure Audio will be a once in a lifetime purchase that maximise the performance of any model and can be customised to suit.
The Dynavector P75MK3 is the most popular phono stage in New Zealand – the obvious first stop for any Dynavector owner. Read more about this here.
The NuPrime HPA-9 is a really interesting option – more than just a phono stage and only $150 more than the Dynavector, it’s a brilliant analogue preamplifier and headphone preamp.
It is at its best with Moving Magnet cartridges and can do things in terms of connection and matching that no other phono stage can come close to. You can connect it directly to any competent power amplifier and even just with digital sources, I’ve heard very few preamplifiers of any breed or cost that compete on sonics and certainly none that do on price. It may take a little while to get your head around the NuPrime HPA-9 but if you have an interest in better sound you most certainly should learn more.
While you might think that Well Tempered products are in the upper realms of cost, the WTL RIAA phono stage at $660 is wee ripper. What makes the Well Tempered phono stage so special is the sound – it’s a wonderfully solid and warm presentation backed by real power and drive. We don’t know the back story behind the design but it’s immediately obvious that this phono stage gives a full scale analogue performance from even modest cartridges. It comprehensively blitzes anything else we’ve tried at this level.
The WT phono stage is easily the biggest and best value upgrade for almost any turntable fitted with a moving magnet cartridge – the logic of placing more resources in the phono stage than cartridge has always been compelling to us – styli and cartridges wear out and need replacement to maintain sound quality, but a good phono stage lasts a lifetime and makes easily affordable cartridges sound far better than they have any right to.
Here’s a great little trick for anyone who is keen on a do-it-yourself upgrade. The new KLEI Harmony RCA plugs from Keith Eichmann do amazing things for sound quality and you’ll just need 2 for a turntable.
When I first tried the original Eichmann Bullet plugs on my own Linn I couldn’t believe how much better they were than the expensive looking metal bodied plugs. The new Harmony plugs are far better again and even the most costly models (the Absolute Harmony Plugs) are just on $100 for a pair. (they come in packs of 4 but if you’re also buying a new cartridge or stylus at the time I can break a pack up).
And of course if the plugs are an ear-opener, the interconnect cables when used either with a turntable with RCA sockets or a phono stage take things a whole lot further again.
Just to re-iterate the most important part of record care – it’s a worn or damaged stylus that damages records first and foremost. After this a lot comes down to handling and the obvious. Don’t pinch the edge of records between your fingers, make sure your hands are clean, keep LPs out of the sun and away from heat.
For really cleaning records, there’s nothing to beat the Nitty Gritty systems – http://www.nittygrittyinc.com/index.html. While costly, they transform even brand new records and really do the business with older discs. The reduction in noise plus the dramatic increase in detail has to be heard to be believed. As a long time owner I’ve never regretted buying one.
As a much lower cost alternative, we also have the Nakaoka 152 Rolling cleaner. With no fluids and a mysteriously sticky roller that can be cleaned and used again and again, this gets all the scunge off your records without any fuss.
There is a new version (the 1000) which is pictured and due to arrive shortly but I do still have a couple ofthe original 152s which are very similar. The results from the Nagaoka are very close to the Nitty Gritty and it’s actually a lot easier to use – highly reccomemnded.
Once clean (or from new) the Nagaoka Anti-static record sleeves are and essential for keeping your LPs pristine – we’ve got plenty of packs (50 in each) for just $65.