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- Paradigm Reference Signature S6 v.3 / C3 v.3 / ADP3 v.3 / Sub 1 / PBK Home-Theater Speaker System
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- Jienat: “Mira”
- Peter Gabriel: "Scratch My Back"
- Back Cover
- Anthem Performance MRX 710 A/V Receiver: King of the Sonic Frontiers
H118 measurements can be found by clicking this link.
Furutech is best known as a manufacturer of high-quality audio accessories, from power outlets to line conditioners to interconnects to connectors. A few years ago, the Japanese company launched its Alpha Design Labs brand to offer many of their signal-transmission technologies at lower cost. ADL’s products are focused on the desktop-and-headphones environment, and include a few models each of DACs, headphone amplifiers, and connection cables. The H118 is their first headphone model ($269 USD).
The H118s are closed-back headphones with earcups just big enough to be considered circumaural. Part of what keeps the earcups small is that they’re in the shape of a rounded triangle rather than a circle or oval; they’re also fairly shallow. My average-size ears fit completely within the openings, but without much extra space. Each earcup is mounted on a plastic yoke that moves in and out of the headband with click-stops, and they fold up on hinges for more compact transport and storage in the included, semirigid, zippered case. The earcups pivot from top to bottom, but not from front to back. Soft leatherette padding on the earcups and headband, combined with the H118s’ modest, 245gm weight, make for a fairly comfortable wearing experience. I did, however, find the clamping pressure sufficient to require a break after a couple hours’ use. Though it feels acceptably robust, the H118s’ matte-black plastic construction looks rather utilitarian.
Portable audio has pretty much been anathema to me, with the exception of a long stretch in the 1990s when I flew around the country to give guest lectures and poetry readings, accompanied by a Sony Discman and a bulky wallet full of CDs. Even now, I don’t jog to the beat of Bruno Mars from an iPod, nor do I cruise through campus with cables dangling from my ears like strings of white tears. Mainly, I used to just listen at home to my reference system or not at all -- unless I had to fly somewhere. Then, I’d plug a pair of Monster Turbines into my iPhone and listen to uncompressed files for however long the flight took, as much to shut out the jet noise and conversations around me as from any wish to hear music. To me, listening this way was not real listening, but a way to pass the time and to keep the outside world from passing through me. Personal audio was a barrier, a kind of wall shored against my ruin.
The Astell&Kern AK120 media player ($1299 USD) has dramatically changed all of that. I take it with me when I jet around, but also find myself using it after arrival -- say, in a European café having an espresso and a cigar -- as well as after my return home, when reading in my study or working at my desk. This player, whose manufacturer claims produces Mastering Quality Sound in a portable package, has introduced me to a new world of pleasurable listening. Premiered at T.H.E. Show Newport Beach 2013 and released early in that summer, the AK120 is one of the sweetest audio gizmos I’ve ever come across.
Early this summer, I took the AK120 on a trip to Prague, where I was teaching, using it first on the long, mid-leg plane flight from San Francisco to Frankfurt, then for the next three weeks in the subways of the Prague metro, late at night in my Vinohrady apartment, and knocking about the quaint and historic streets of Mala Strana and Stare Mesto, in the Golden City on the banks of the Vltava. Then, in August, I took it along on a month-long retreat to an artist-residency program next door to Neil Young’s ranch in the Santa Cruz mountains of Northern California. The AK120 was a superb audio companion, easy to use, and so compact -- about the size of a pack of Gitanes cigarettes, it fit nicely in my pants or shirt pocket. I had my tunes wherever I wanted, in high-resolution and Apple Lossless, too.
One of the equipment reviewer’s jobs is to take gear to extremes: punish it with challenges to see how it performs. So for home-theater speaker systems, we haul out the bad boys of modern film, the action epics with combustible special sound effects, dominant soundtracks, and enough explosions to make Krakatoa seem like a stroll in a sylvan glade. But once in a while you have to remember that most folks have only one system, which also has to play music -- arguably, a more demanding test of any speaker or system. For this review of one of Focal’s Pack 5.1 systems -- this one comprising five Bird satellites and one Sub Air subwoofer -- we’ve split the difference with a couple of movies about music. We’ll see if the Focal system can lift both weights with equal ease.
As soon as I laid eyes on Cardas Audio’s new EM5813 Model 1 Ear Speakers, at T.H.E. Show Newport Beach ’13 this past May, I knew I was in for something special. Cardas’s VP of marketing and sales, Andy Regan, pulled me out into the hall, where he’d set up a demo table outside the Audio Element room, handed me the weighty earbuds, and told me to plug them into my ears and iPhone. I did and, according to report, let out a joyous “Fucking cool!” I can’t remember what track I played, but the sound was gorgeous. I insisted on a review pair on the spot. I had to have them.
Aside from their sound, my immediate impression of the EM5813s ($425 USD) was of how they looked and felt -- the attractive reddish copper color of the metal shells and their seriously solid feel. Made from copper alloy in the attractive shape of a tiny Etruscan urn, the shells strike strong visual notes of density, richness, and craftsmanship. And when they knock together in the hand, I hear a damped, mellow click like billiard balls in quick, precise collision.
Audioengine began as a manufacturer of professional and consumer electronic products for other companies. Eventually they decided to put out audio components under their own name, and in 2005 the company officially introduced their first consumer loudspeaker, the powered Audioengine 5, which was highly regarded and is still available as the 5+. The company’s website currently lists ten consumer-audio products, including desktop and bookshelf loudspeakers, a desktop amplifier, high-performance wired and wireless 24-bit DACs, a powered subwoofer, and the subject of this review, the 16-bit W3 wireless digital-to-analog converter ($149 USD).
The W3 consists of two modules, labeled Sender and Receiver, that look like USB memory sticks. The Sender is a 16-bit USB-powered component with wireless output. It transmits only a bit depth of 16 bits, at a sample rate of 44.1 or 48kHz, but most music-player apps will downconvert 24-bit files or 88kHz and higher sample rates to match the W3’s 16/48 maximum. The Sender is plugged into a computer’s USB port, from which it draws its power via a stubby USB cable maybe half an inch long. A white LED illuminates to indicate that the Sender is receiving power.
I suspect that my initial encounter with Shure’s products was hardly an uncommon one. I’d purchased a third-generation Apple iPod before I began my freshman year in college, and the little guy enjoyed near constant use for the next eight semesters. Also seeing use were Apple’s detestable first-generation earbuds -- three pairs of them, no less. After busting through my third set, I resolved to do better for myself. My junior year saw stratospheric highs and Marianas Trench lows, emotionally speaking, and Shure’s SE210s provided a terrific soundtrack for it all. But for all their sonic strengths, my old SE210s had a weakness -- after a year or two of daily use in all kinds of weather, the insulation around the cord would crack, exposing the bare wire underneath, and signaling that the Shures were nearing the end of their life.
Similarly, I’d enjoyed four years of use from Shure’s then-flagship earphones, the SE530s, when, in 2009, I made the galactically poor decision to quit my job and go to grad school. The SE530s proved wonderful companions as I wrote up endless assignments and, during finals, paced my apartment like a lunatic. In fact, they lasted until March or so of this year, when, like the SE210s before them, their cords’ insulation cracked where they go around my ears.
It’s hardly a coincidence, then, that Shure’s latest and greatest in-ear monitor, the SE535, found its way into my review queue.
To the high-end audio industry it probably feels like forever, but this past April Apple’s iTunes turned ten years old, heralding the end of possibly the most important decade in the history of consumer electronics. No one needs to remind the folks in Cupertino that it was the lowly iPod that turned the struggling computer manufacturer into one of the most successful media companies in the world, and, in the process, completely changed the way human beings purchase and enjoy media.
Our little corner of the consumer-electronics world was a tad slow to respond to this paradigm shift, and those who failed to recognize that smartphones, iPods, and tablets were laying the foundation for personal audio and downloadable media to become the fastest-growing CE product categories of all time watched their business dry up fast. Headphones and portable audio weren’t some fad, but a sustainable business that plowed through four years of a global recession as the rest of the industry suffered.
But while the great unwashed lost little sleep as they abandoned vinyl and CDs for lossy MP3 downloads, for audiophiles, portable audio in the form of a sound dock or wireless system was the ultimate addition of insult to injury, and a poor excuse for a high-end two-channel stereo system. We stuck our noses in the air and pretended that all would be fine in the land of $10,000/pair loudspeakers and $5000 DACs. Do you know who it was fine for? The family ten blocks down, who own a little company called iHome. The garage of their summer oceanfront home could swallow our 3200-square-foot home with room to spare.
The early years of home theater were, for me, ones of disappointment. For all the talk of “surround sound,” the first three generations of HT receivers were underwhelming -- so much so that I gave up on the concept for many years. Why spend all that money and run all those ugly cables for mediocre performance?
Things changed when I bought my first flat-panel TV. Surely, its magnificent 42 inches deserved better sound to go with its HD picture. Still, I looked (and listened) for a long while before deciding on the Anthem MRX 300. That receiver packs more than enough power and features for my HT needs, and sounds terrific. Still, along with an AVR came multiple speakers and their dreaded snarls of cable. My inner two-channel minimalist wondered if a simpler setup wouldn’t work just as well.
For several years now, my reference speaker has been Definitive Technology’s Mythos ST SuperTower ($1999 USD each) -- its performance is so good and so contemporary that I still feel no need to replace my pair of them. My experience with these magnificent speakers made me wonder what the sound wizards in Maryland could do for sound bars. So I requested a review sample of DefTech’s almost-all-in-one home-theater speaker system of SoloCinema XTR powered sound bar with wireless subwoofer ($1999).
If there is a premier icon in the annals of fantasy fiction, arguably it is Edgar Rice Burroughs, who in the course of a 38-year literary career wrote some 70 novels, not least of which were 25 Tarzan adventures and the inimitable John Carter of Mars series. Last year, on the 100th anniversary of the publication of the first Carter story, The Princess of Mars, Disney Studios released John Carter, a megabudget flopperoo of curious non sequiturs and wooden dialogue. I love it. First of all, Carter of Mars is Burroughs at his very best, even if the movie’s story deviates wildly from the original. Second, not even a director who can’t make up his mind between reinventing pulp or crafting a blockbuster epic can mess up Burroughs. Finally, it’s a lovely test for a home-theater speaker system.
Audio Pro is a Swedish company founded in 1978. The speakers are designed in Sweden, but made in China. The Avanto 5.0 HTS home-theater speaker system ($1499 USD) consists of two FS-20 full-range front-channel towers, a C-20 center-channel, and two S-20 bookshelf surround speakers, each a bass-reflex design with a rear port. The FS-20 tower is a three-way with a 1” dome tweeter, two 5.25” midrange drivers, and a side-firing 8” woofer. It weighs 45 pounds and measures 40”H x 7.5”W x 14”D, its canted plinth sloping it down to 38” at the rear. The S-20 surround is a two-way with a 1” dome tweeter and a 4.5” midrange-woofer cone, weighing 7 pounds and measuring 10.5”H x 6”W x 7”D. The C-20 center-channel, also a two-way, has a 1” dome tweeter with a 4.5” midrange-woofer driver to either side, weighs 10.3 pounds, and measures 16”W x 5.75”H x 7”D.
Although I’m in awe of the vast array of ultra-expensive audio gear reviewed at the SoundStage! Network’s websites, I’m one of the more pragmatic reviewers. I obsess about gear as much as the other reviewers, but I don’t spend vast amounts of money on audio and home-theater equipment. I try to allocate my funds where it will make a significant difference, and to keep my components as long as I can. So when I see a DAC for $10,000, I shake my head: “That’s insane!”
But a company like Cambridge Audio, based in London, England, really impresses me. Cambridge’s line is chock-full of Vince-friendly gear -- from $600 DACs to a line of integrated amps that tops out at $2000, Cambridge is the definition of sensible in the audio lexicon. On their website, the consistent theme is one of sound quality and value. According to Cambridge’s business model, value comes from keeping their R&D in London and their manufacturing in China, where they can maintain high quality at a fraction of the price of manufacture in Europe or elsewhere.
Here I review the Azur 751R upsampling receiver -- “upsampling” giving a hint of the audio engineering that has gone into this model. Although not cheap at $2999 USD, the Azur 751R promises good value and emphasizes sound quality, something you don’t see in mass-market brands.