AbSounds Catalogue2012 Lo Res

absolute sounds ltd.

2012 CATALOGUEabsolute sounds ltd

Audio Research

Artesania

Constellation

Continuum

Copland

Crystal

DarTZeel

Dreamvision

D’Agostino

Devialet

EAT

Jadis

Koestu

Krell

Metronome

Micromega

Mystere

Magico

Martin Logan

Primaluna

Sonus Faber

Transparent Audio

Theta Digital

Yter

Wilson audio

58 Durham Road, London SW20 0TW T: +44 (0)20 89 71 39 09 F: +44 (0)20 88 79 79 62

www.absolutesounds.com [email protected]

absolute sounds ltd


absolute sounds ltd 2012 CATALOGUE

32Bit/192Khz Dac media streamerwith Reference 5 SE output stage.

Ref Dac Media BridgeAudio Research

2012 CATALOGUE

Despite our reservations about the quality of downloads, streaming, “cloud” storage and other manifestations of non-physical media, we have always harboured the belief that the finest minds in high-end audio – as they did with Compact Disc – would provide solutions to render the new formats not merely listenable, but desirable. Equally, we knew that Audio Research would not be able to resist the challenge this posed for the Reference series.

The Audio Research Reference DAC Digital Media Bridge is a product inspired by today’s music listener, and driven by a passion for high performance music playback. While known predominantly for valve electronics, Audio Research have been producing high performance digital components in the form of CD players and D/A converters for more than two decades. While the Reference DAC is not the first D/A converter from Audio Research, it is the first in the Reference series.

At the genesis of the Reference DAC project, Audio Research decided to not only pursue exceptionalplayback performance, but to also provide remarkable flexibility with as much connectivity as possiblein today’s digital world. The name ‘Digital Media Bridge’ is intended to describe a product connecting as many sources into one point as possible, creating a digital hub with an intuitive user interface. The design team felt that a Reference product with maximum connectivity would provide the greatest longevity amidst the constant changes in digital music storage and transmission. Whether using BNC, RCA, Toslink (optical), AES/EBU, high speed USB from computer, USB mass storage, iPod/iPhone/ iPad, or wired or wireless Ethernet, the Reference DAC provides an interface to connect your device.

The Reference DAC supports a tremendous number of digital music formats. It has the ability to decode virtually all major music formats available today, at resolutions up to 192 kHz, 24 bit. Gaplessplayback is a standard feature. The DAC is a renderer and can be controlled from your computer music software. It is UPnP and DLNA compatible. In short, it is designed for you to connect your hardware and engage the music, at which point the magic begins.

Sonically, the Reference DAC is nothing short of stunning. The entire digital and analogue sections aredesigned in-house by the Audio Research engineering team. Utilizing balanced quad-DAC architectureand advanced clocking for the lowest jitter, the Reference DAC resolves every detail in your files. Afterdecoding, the signal passes through a valve analogue stage that is identical to the acclaimed Reference 5 SE preamplifier. With its ability to output 17 volts, the REF DAC can also drive amplifiers directly without the use of an analogue preamplifer, ideal for owners utilizing digital sources exclusively.

Like the finest bespoke products, the Reference DAC is designed and handcrafted with a singular purpose: elevating the music to allow a new level of experience and understanding. Transcending its remarkable digital and analogue technologies, the Reference DAC culminates in a musical experience unavailable elsewhere. Hear the air and space around individual instruments and sections of the orchestra. Experience true, deep bass that has shapeand texture, whether from a kick drum or a string bass. A singer appears in front of you, not merely as a voice but with a full-bodied presence. The piano becomes a real instrument, with all the complexities of the notes unraveled and conveyed with unprecedented clarity.

The Reference DAC Digital Media Bridge: Designed to accommodate all of your musical formats and to recreate musical reality.


absolute sounds ltd

For as long as Audio Research has been in business, the company has believed in the benefits of trickle-down technology, and continued development of existing models. The former has been demonstrated again and again, most recently with models like the REF75 power amplifier – effectively a half-pint REF150 – and the Reference DAC, which enjoys intellectual input form the DAC 8 and the Reference Anniversary Preamplifier. Now it is the

REF5’s turn.Unlike the seemingly perpetual upgrades of the past, when a model like the SP6 emerged as SP6a, SP6b, on up to “e”, “f” or even “g”, the REF5 has had an unmolested run since 2009. Now, the unit has been improved with detail changes born of the sold-out Reference Anniversary, and the results are spectacular. Best of all, they’re retro-fittable, too, including the cosmetic refinements, so any REF5 owner can have his or her unit upgraded to SE specification.

Even in original form, the REF5 is a preamplifier of the highest grade. It has appeared in so many manufacturers’ and reviewers’ systems that it now enjoys the status of vintage classics like the SP10. It offered both fully balanced and single-ended inputs and outputs, full remote control and performance that can only be described as the crowning glory of all-valve preamplification. The SE inherits all that.

Regarding the aesthetics, the SE version’s front panel now sports round aluminium but-tons in line with other recent models, repla-cing the square black buttons. The handles are silver and the standard cover is Plexiglas, with a perforated metal lid available on re-quest. But the most important changes take place inside – so we heartily recommend the see-through cover, surely audio’s equivalent of a wristwatch’s sapphire glass case back.

A number of changes and refinements di-stinguish the REF5SE from its predecessor. Audio Research added an additional capaci-tor board to almost double the energy sto-rage capacity. The components now include new and additional Teflon® and hybrid coupling and bypass capacitors, and the unit enjoys new wiring. All of these combine to make the move to SE status worthy of the new model nomenclature.

Sonically, the improvements are immediate and startling, neither subtle nor incremental. It is supe-rior in every area of importance, from more refined and detailed resolution, to an improved sense of “air,” but it’s the explosive dynamics that allow the gains to be compared to moving to a larger power amplifier.

The great news is that we are now able to deal with the backlog of updates. The full update pro-gram for original units has commenced, but updates have to be scheduled to keep waiting times down to a minimum, so please be patient. Never have truer words been spoke about hi-fi than, on this occasion, “It will be worth the wait.”

Reference valve line stage preamplifierRef 5 SE


absolute sounds ltd

Audio Research

2012 CATALOGUE

The Reference 10 is a two chassis line stage which surpasses the exceptional sonic performance of the Reference Anniversary preamplifier in virtually every regard. Internally, further refinements to circuit design have been made and new, proprietary parts have been included. Externally, a seven-inch touchscreen display and refined chassis echoes the sonic improvements in a beautiful, yet familiar industrial design. Fully discrete, zero feedback,

class-A circuit design maintains the heritage of Audio Research engineering. Every Reference 10, like all Audio Research products, is built entirely by hand in Minnesota and each unit must pass a listening test before being prepared for shipping.

Intuitive, straightforward controls are provided by the Reference 10’s new seven-inch touchscreen display. Nearly all functions are displayed on screen and can be altered by a simple touch to the words and icons. A settings menu allows customization of the display colors and input names. Each input can be independently offset to provide volume matching regardless of source output differences. A tube hour counter keeps track of the total time the unit has been in operation, and can be reset after tube replacement.

Providing a real impression of the sonic attributes of the Reference 10 is challenging due to the overuse of superlatives and terms often used describing audio equipment. Simply put, the Reference 10 illustrates a musical event with such vivid detail and clarity that the listener passes through the listening window and enters the performance space. A violin concerto becomes Jascha Heifetz performing at Symphony Hall in Boston. Take Five transcends the late ‘50’s Columbia recording, unraveled into the delicate interplay of the Dave Brubeck Quartet. Jimi Hendrix’s guitar becomes a pulsating firestorm in a wall of blissful sound.

Bring your recordings to life, reanimating the inanimate. It allows you to experience your music in a way previously not available, up close and personal.

Reference valve line stage preamplifierwith separated power supply

Ref 10


absolute sounds ltd

Audio Research

2012 CATALOGUE

C A T A L o G o N o V I T à 2 0 1 1

As with the LP1 phono stage, Audio Research is showing its cognizance of the times in which we live by offering more affordable models than ever before. It is, of course, impertinent to consider any model in the Reference family as something to be considered by the financially-challenged, but the new REF75 stereo power amplifier is the least expensive amp to merit the Reference designation.Banish, however, any

thoughts of compromise. Audio Research managed to excise a substantial amount of the REF150’s cost by using the same case and a similar circuit, but with half the number of KT120 valves. Even with the power halved, its output is still substantial, enough to do justice to speakers such as the Wilson Audio Sophia 3, the smaller Magicos, most Sonus fabers and our favourite MartinLogan floorstanders. In other words, you’ll only notice the power rating versus the REF75’s heftier siblings if you have hungry speakers or a massive room.

In ever other respect, this is truly the REF150’s little sister, with the added benefits of genuinely useful electro-mechanical metering to aid in tube bias adjustments, accessible through the front panel. There can be no easier way to ensure that your valves are in top shape, and operating of their best. It is also worth pointing out that the REF75 uses the latest generation of the widely-acclaimed KT120 valve, the company having helped it to develop into an even more robust tube. When you consider that each KT120 has no trouble delivering 60W, then two per channel will find 75W betwe-en them to be a breeze.

What you will hear is nothing short of sublime. The sound is, as with every Reference amplifier that preceded it, commanding, rich, warm and detailed, with levels of accuracy that explain how this family of components earned its name. The bass is extended and controlled, with the speed of a solid-state amplifier but none of the aggression. For transparency and “air”, the REF75 is casebook study: your speakers will “disappear”, the sound expanding to fill its own three-dimensional space as demanded of the recording.

At a time when most people are reappraising their priorities, the joys of music serve a greater need than mere entertainment or simple diversion. Music feeds the soul, and the most direct experience of the musical event is truly the most nourishing. Yes, the REF75 is a premium-priced product, but it is within the reach of a far greater number of music lovers than any Reference model to date.

Even if the attractive price is merely relative, the REF75’s performance is spectacular. We therefore suspect that this stereo power amplifier will prove to be, in the coming years, a classic to rank with the most coveted models found in Audio Research’s illustrious past.

Stereo valve amplifier with KT120 Reference 75 Audio Research



Among the greatest amplifiers of all time were the Audio Research D79 and D150, distinguished by their large power meters. With the simple nod to the past, that of an electro-mechanical meter instead of a digital display, Audio Research has forged a spiritual link between those milestones of yore and the new REF250 monoblock.

Replacing the magnificent REF210 – the perfect choice for those who didn’t “need” REF610s – the REF250, like the REF150, enjoys improvements both inside and out. The illuminated meter shows power output, line voltage and output valve bias settings, while a small LCD display showing accumulated tube hours is positioned near the front of the circuit board inside, visible with the top cover in place.

other enhancements include deft restyling to match the current Reference line-up, with small aluminium power buttons, while the handles, top covers and front panels are either all-silver or all-black. Quiet running is ensured by fans located on the rear of each chassis, with low-turbulence intake grids and two selectable speeds for ultra quiet and effective cooling. As befits an amplifier of this power, the detachable power cord is the 20-amp IEC type as used on the REF210. System compatibility is assured through two 12V triggers on the back panel, along with 4-, 8- and 16-ohm speaker taps. But it’s the sound that benefits the most from the makeover.

Just as the REF150 supersedes the previous model with gains in every area of performance, so does the REF250 raise the bar above its predecessor. Thanks to a new power transformer and the fabulous KT120 output valves providing the drive, the REF250 exhibits profound impact, improved bass speed, tighter control and finer detail retrieval. New Teflon capacitors have enhanced the unit’s focus, there’s a lower noise floor, wider dynamics, greater low-level resolution and superior matching with even the most difficult loudspeakers, and you have another power amplifier worthy of the name “Reference”.

Despite its price, the REF250 has garnered acclaim resulting in unexpected demand. The amplifier is back-ordered even before a single review has appeared. This is unprecedented. It explains why Audio Research was compelled to state: “We feel that this is the finest amplifier we have ever produced.”

Mono valve amplifier with KT120Reference 250



Audio Research

With the brand-new LP1 phono stage, Audio Research has addressed not one but two concerns for contemporary high-end aspirants. The first is its price – a genuine Audio Research phono amplifier for under £2000 – while the second is size. The LP1 is a diminutive 13in wide, 8.6in deep and 4.5in high. For installations where space is at a premium, and where another full-sized chassis just won’t fit, the truly compact LP1

will provide a perfect solution.

But it’s the incredible affordability that makes the LP1 so notable, and in this respect, one could say that the unit addresses a third concern. Just as a number of seasoned audiophiles will welcome the reductions in size and cost, so will newcomers to vinyl be delighted by the opportunity to savour their newly-discovered format with a device of such an admirable pedigree.

A hybrid vacuum tube-based unit fitted with a 6H30 valve and special low noise JFETs, the LP1 has been designed to exploit higher output cartridges, accepting both moving magnet and high output moving coil types: those delivering at least one millivolt, which will be able to exploit its gain of 47dB. There is no overall feedback, and it is non-inverting. Despite what appears to be an exercise in minimalism, this seemingly basic unit also includes a custom-made, Audio Research-designed power transformer, multiple stages of regulation and zero overall feedback.

To keep costs down even further, the inputs and outputs are single-ended-only. The front panel contains the inset Audio Research logo, while space and size preclude handles. There are only two switches, one each for Power/off and Mute/operate, and the LP1 is offered with the front panel only available in Natural Aluminium. But do not think for a moment that sacrifices have been made to the sound, for the performance is Audio Research, through and through.

When matched with a cartridge of sufficient output, the LP1 behaves with the blend of authority and musicality that has endowed its dearer siblings with the respect of analogue supporters the world over. A mix of sweet valve lushness and solid-state precision, the sound embodies all the virtues of vinyl playback – an immediate understanding of how this format has survived a three-decade attack from digital sources. What the LP1 delivers is a vivid reminder of what we almost lost!

While we are not expecting for a moment that Audio Research has further plans for models in this pint-sized package (we’d love to see a basic line-level pre-amp in this box!), for the time being, here’s your chance to own a bijou ARC product that punches way above its weight. And with the vinyl revival in full swing, it could not have come at a better time.

Valve Phono PreamplifierLP1


absolute sounds ltd

Audio Research

2012 CATALOGUE

Audio Research

Audio Research



KT120 Valves

Preamplifier with built in 192Khz Dac

There can be no better, more elegant way to integrate the finest of modern digital sources with a high-end system than through Audio Research’s long-awaited DS-Pre. This marvellous device combines a superior line-level preamplifier with a 24/192 DAC in a single, unified chassis. As a preamplifier, it accepts two balanced sources via XLRs and three single-ended sources through RCA phono sockets, with balanced and single-ended line outputs.

Add to this five digital inputs based on the DAC technology, a comprehensive menu system and digital conversion up to 24-bit/192kHz resolution, and no digital source can fail to benefit. Your computer will thank you.

• Preamplifier Inputs: 2 XLR, 3 RCA

• Preamplifier output: XLR, RCA, Tape

• Balanced output Gain: 18dB; Single ended output Gain: 12dB

• 5 digital input, as per DAC8

• Front panel menu : Power, Sample, Menu, Enter, Mono, Invert, Mute

• Triggers 2-12V (input and ouput)

• RS232 port

Not just big, but positively HUGE news for devotees of Audio Research power amplification is a new valve destined to become the industry standard. Audio Research has announced the adoption of the KT120 as its output valve of choice. Manufactured in Russia, the KT120 is designed specifically for use in both guitar and

audio power amplifiers. With a dissipation rating of 60W, the KT120 is capable of higher power output than the much-loved 6550 or KT88. output power increases as follows, with 6550s replaced by KT120s: REF610T increases from 610W to 840W;REF210 from 210W/ch to 250W/ch; REF110 from 115W/ch to 129W/ch; VS115 from 115W/ch to 128W/ch; VSi60 from 45W/ch to 52W/ch.

The KT120 has the same pin configuration and bias and is a direct replacement for the 6550 in current models. However, because the KT120 is slightly taller than the 6550, it may not physically fit all older models, and it will not fit under the cage of the current VS60 and VSi60. Please check with our service department for advice on older models. The 6550 continues as the power-supply regulator tube in the REF CD8, REF Phono 2, PH7, REF5, REF Anniversary, REF210 and REF610T.

DS-PreAudio Research

Esoteric supportState of the art component support



Artesania AudioEsoteric Components Support Rack

one of the great finds of last year was the Artesania Esoteric equipment rack designed by Jose Luis Lafarga of Spain. This has startled many an ear and found itself in more and more high end systems over here.

We all know that what electronic equipment is standing on has a profound influence on the sound, but all hi-fi racks have shelves, whether they be glass, wood, or some more exotic material. They can be extremely expensive and they all sound different. So is there an ultimate material? Possibly - but the very best answer surely has to be no shelf at all.

This is Lafarga’s thinking behind the Artesania Esoteric, and he has been working for nearly 20 years on producing a rack that lets equipment perform as it should. The whole design is ingenious and consists basically of soft articulated pads on nylon bushings in an exoskeleton frame that is itself isolated by being suspended within an outer frame by four large nylon cylinders.

The exoskeleton holds three or four tiers that are height-adjustable on vertical rods, and on each tier are sliding brackets that hold the pads on which the equipment is supported. The positioning of the pads is fully adjustable for positioning and levelling. It is at once both complex and simple.

The results are spectacular. Listening to a system with an Artesania at its heart, one is immediately struck by just how coloured most other racks sound. Everything is better: greater separation between instruments, cleaner and deeper bass with far superior definition, enhanced clarity, crisper dynamics, sweeter treble, a feeling of completeness to the music - all the things we are looking for.

Available in three or four-tier heights or a double-width three-tier, the Artesania is visually attractive by the nature of its workmanship and functionality. With two sets of pads for the base cups, it can be installed to give ultimate results on carpet or bare floor - and there are no spikes to do any damage.

Those who insist on shelves can have them, but there is little point unless you are mounting a turntable, in which case a specially dedicated top shelf of glass is available. This is huge, heavy, and made of three laminates of tempered glass. It is supported on an exotic-looking four-point polished aluminium frame that sits atop the outer pillars, the glass itself isolated by large corner pads.

Included in every Esoteric rack is a separate discus-like aluminium damper for each tier. These are placed on top of the equipment and go a long way in damping out airborne resonances at high volume levels, which are a well-documented source of colouration.

With an Artesania as the foundation for your system, you will know that your electronics are performing at their very best - just as their makers intended.

If it ain’t broke, don’t fix it.’ That’s the train of thought at Continuum, the company not feeling any burning need to release products just for effect. After all, the company manufactures the most highly regarded turntables on the planet, and we’re happy for them to carry on as usual. With two models in the range, the appeal has doubled, enabling more music lovers to experience vinyl’s full effect.

Their attitude is justified: There has never been a turntable-tonearm combination like it. Continuum Audio’s Caliburn and Cobra elevated the playback of the vinyl LP to previously unimagined heights. It is a marriage of pure science and audiophile passion, resulting in a “front end” without peer.

The award-winning Cobra Tonearm was designed using advanced FEA software and shape optimisation to derive its revolutionary profile. The Cobra’s revolutionary design removes distortion and coloration and delivers a pure rendition of the original source like no other tonearm currently available. With vacuum hold-down, isolation of the respective stages, construction to NASA standards, the Caliburn is the ultimate disc-spinner.

Completing the Caliburn-Cobra analogue playback system, the Castellon stand was built to defend the Caliburn from external vibrations. Continuum Audio Labs developed a scientifically-designed floating platform which uses a combination of magnetic and pneumatic isolation technologies. Two heavy, opposing magnetic plates, isolate the Caliburn from vibrations. Precision-machined in aircraft- grade aluminium, the ultra-rigid Castellon is cross-braced and tensioned with nautical turnbuckles for added strength, and is available in a number of metal and wood finishes.

Although the price of the complete system precludes ownership by all but a fortunate few, the company has a less-costly alternative in the slightly simpler Criterion-Copperhead system. At a much reduced price, the pairing provides not merely a taste of Caliburn-Cobra magic, but nearly all of the thrills. More compact, less complex, it is no less compelling, having been designed and realised by the same high paradigm. As one noted critic admitted, it revealed details on familiar LPs that he hadn’t heard before.

Reference turntable system including purpose built stand

The Caliburn system



Continuum Audio Labs

studio line

Simply light years ahead: that is how Constellation Audio define their designs - and judging by the awards and praise heaped on this Californian company, that is no idle boast. Those lucky enough to have experienced the performance of these extraordinary amplifiers quickly realised they were hearing new boundaries of performance being established. Right from the start the aim was to produce amplifiers that had no equal. In a world populated by many

outstanding creations this was never going to be easy - and almost certainly beyond thecapabilities of a company headed by one man, however talented he may be.

Letting loose a team of names that reads like a Who’s Who of the high end is not necessarily a reci-pe for success, for without discipline and order the whole venture could have ended up as a typical ‘design by committee’ project. But Constellation Audio knew exactly how to go about things, as the company was originated by the very people who brought us Continuum Audio Labs in Australia, designers and builders of what have been hailed as the world’s finest turntables. This, too, was a no-holds-barred project with the best brains in the vinyl business being given a free hand.

Now some of the gurus from the world of amplification and digital have been assembled to pool their vast knowledge - names such as analogue development engineers John Curl and Bascom King, audio design engineer Demian Martin, digital development engineer Keith Allsop, and product deve-lopment engineer Richard Liddell. Two names that will be familiar to Continuum owners are Murali Murugasu, who is CEo, company president and investor, and David Payes, chairman and investor.

Like Continuum, Constellation products look different from anything else, with a form-follows-function aspect. As with Continuum, the first product was a cost-no-object design, in this case the Reference Series which consists of the Altair line stage, the 1000 Watt aptly-named Hercules mono-bloc power amplifier, the orion phono stage and delightful Pyxis system controller. These have been described in The Absolute Sound as ‘perhaps the most ambitious assault yet on the state of the art in audio amplification’ and executed with ‘fanatical attention to detail.’ In his review, Robert Harley raved about the Hercules and said it was able to produce ‘a signal of astonishing musical realism—transparency, resolution, timbral liquidity, and an absolutely jet-black background’.

The Centaur stereo amplifier delivers 250 Watts per channel: plenty of power, but with detail and delicacy to match the finest single-ended triode amplifiers. The Centaur monoblocs deliver twice the power and are rather more living-room friendly than the Hercules monsters. The rest of the range consist of the Virgo line stage, Perseus phono stage and Cygnus digital file player and 32 bit /192Khz DAC.

All Constellation products have something of an other-worldly look about them, but allied to a remar-kably simple and understated appearance and with a fit and finish to be expected at this level. For example, the Altair, which consists of two multi-faceted chassis, is formed from solid blocks of alu-minium, and its bland appearance can be something of a shock: no controls, no markings, no lights - nothing.

only a comparatively few people have heard Constellation Audio in action. Those who have are unlikely to forget it, for it is an object lesson in the realisation of the seemingly impossible. If you are serious about elevating your listening to an unprecedented level, then an audition is obligatory.

Reference 250 w Stereo/500w mono amplifier

Centaur



Constellation Systems

studio line

C opland may seem familiar, with its Scandinavian cool, exceptional value for money and enticing sound, but the company is still able to surprise even long-serving supporters like us at Absolute Sounds. The photos grabbed us, but the description sealed the deal: the CTA506 power plant is going to be a knock-out because it has been designed specifically for the KT120 power valve, a new variant of the legendary 6550/KT88

power tubes. The KT120 is the most powerful iteration yet, able to deliver nearly 30% more power: a pair of KT120 tubes in push-pull configuration can deliver nearly 200W of audio power!

In the CTA506, Copland extracts a conservative 90W/ch. The CTA506 push-pull output stages uses of a pair of matched KT120 in fixed ultra-linear configuration, giving the low distortion of triodes combined with the power of tetrode valves, with active tube regulation courtesy of two 6550s. A dedicated power supply for the input stages of the amplifier allows the massive central reservoir capacitors of more than 3000-microfarad to independently serve the output valves.

The CTA506 is terrific-looking, too, its handsome chassis fitted with a grooved front panel. The KT120s are impressive beasts: Copland decided to make them clearly visible by situating the valves behind the lateral perforations on the front panel, thus creating a stunning design to match the sonic virtues of this amplifier.

Stereo Valve amplifier with KT120

Copland CTA 506





Aluminium 3 way Loudspeaker system free standing.

Arabesque III

Aluminium 2 way Loudspeaker system stand mount

Crystal cable

Crystal cable

At 32.6cm (12¾in) tall, Crystal Cable’s Arabesque Mini lives up to its name: it’s positively teensy. But that says nothing about its deceptive grandeur. The Mini is fashioned from solid aluminium, quite a challenge in a cabinet so complex yet so compact. The Arabesque Mini features the company’s unique Illuminator bass-midrange driver, combined with a super-fast, pure beryllium-dome tweeter, which

provides a surprisingly full and powerful sound from such a small cabinet. The drivers and saturation-free crossover are connected with advanced, mono-crystal wire from Crystal Cable. The Arabesque Mini builds on the results achieved by the original all-Glass Arabesque. The unique Comsol-optimised low-resonance structure allows for the absence of damping or filler material. Technical innovation, musicality, and a beautifully precise design make the Arabesque Mini truly unique and exceptional.

Inspired by the all-glass Arabesque, the Arabesque III is a floor-standing speaker with a compact, room-friendly footprint. The cabinet is made of solid aluminium, offered in black and silver. Four unique, proprietary Illuminator bass-mid drivers ensure low distortion and enough level to please large audiences. The low-mass midrange demonstrates a unique sense of realism, making all types of music appealing and involving.

Both low mass, high speed drivers are beautifully engineered, with powerful Airflow Neodymium magnet systems. A beryllium tweeter completes the six-driver design. The drivers are connected by a crossover network of equally high quality, featuring large, silver-coil capacitors and huge air-coiled inductors. Rhodium-plated WBT Nextgen connectors and Crystal Cable terminals allow for bi-wiring or bi-amping, and all drivers are connected using highly-advanced mono-crystal wire.

Arabesque Mini

W e’ve attended more than a few hi-fi shows in our time, but nothing prepared us for the reaction to the D’Agostino Momentum Preamplifier at ToP Audio 2012 in Milan in mid-September. A year earlier, pandemonium ensued when the Momentum monoblock appeared at that show, but even that auspicious debut seemed calm in comparison. Seasoned audiophiles who should be jaded about new models,

having owned dozens of components over the years, were rendered speechless. Even members of the press were unable to contain their delight.

Like the Momentum amplifiers, the preamplifier uses the company’s proprietary “complementary balanced circuit topology” for maximum bandwidth and low noise. Its audio circuitry is fully discrete, devoid of op-amps. The zero-feedback design assures the most musical sound quality, while volume adjustment is made through a resistor ladder governed by an optical controller—the cleanest, most transparent possible method of controlling volume, for the absolute precision appreciated by sophisticated and experienced listeners.

To provide the power to the Momentum preamplifier, a 300VA power supply in an outboard chassis has been developed. This separation isolates the preamp’s sensitive circuitry from electromagnetic interference and noise. Separate supplies power both the audio and control circuitry, so the control circuits are completely isolated from the audio circuits. This is one seriously quiet control unit, as was evident in Italy when heard through an ultra-wide bandwidth system terminating in Wilson Alexandria XLFs.

To ensure aesthetic physical synergy to match the sonic coherence of an all-Momentum system, the styling of the preamplifier perfectly complements the mono and the stereo Momentum amplifiers, with copper accents to match the amplifiers’ unique copper heat sinks. The prominent meter on the front panel – rapidly established as the D’Agostino signature touch – indicates the volume setting. A ring around the meter controls the volume – a neat touch that exploits Dan’s homage to the great watchmaker, Breguet. The front selector buttons illuminate to show which of the six line inputs is active, while a radio-frequency (RF) remote control that works through walls is included in the package.

Just like the Momentum amplifiers, the preamp uses through-hole construction and is hand-built and individually tested in D’Agostino’s Connecticut facility. Its operation is balanced, with XLR socketry and two main outputs, while the dimensions are shelf-friendly, being less deep than the amplifiers at 18x12.5x7in (WDH).

So phenomenal was the response to the preamplifier that it is already back-ordered. It is a measure of the respect shown for this new manufacturer and its seasoned founder that would encourage such confidence in a product so fresh. We have no doubt that the Momentum Preamplifier will garner the same rave reviews that have been showered upon the amplifiers. This, dear friends, is the essence of high-end audio.

Reference Line stage preamplifier

Dan D’agostinoSuper analogue Preamplifier


absolute sounds ltd 2011 CATALOGUEabsolute sounds ltd.


W hen Dan D’Agostino rejoined the high-end fray after less than year from the time that he showed us the earliest drawings of the Momentum monoblock, it was a comeback to equal Elvis’ return in ’68. The Momentum was an immediate smash hit, redefining what a solid-state monoblock amplifier could do.

This debut model dazzled all who heard – and saw – it, the amplifier surprising observers because it was diminutive in relative terms, gorgeous in its styling, breath-taking in its details. From the meter inspired by a Breguet wristwatch, to the solid-copper heat sinks that run down its length, to the finish, the bolts, the connectors, it oozed luxury. For it was always Dan’s intention to produce an amplifier that would be regarded not merely as a piece of audio equipment, but as a luxury purchase to consider alongside a fine motorcar, a bespoke suit, hand-made furniture.

It was inevitable that the Momentum would be followed by a two-channel version. Dan explained that the challenge was to achieve one thing only when moving to a stereo model on a single chassis – to reduce the power output without diminishing the sound quality. He further explained that this was accomplished primarily by reducing the number of output devices. Thus, the owner of the Momentum stereo amplifier is able to regard the amplifier as one would look at a single bottle of Petrus, if standing next to a magnum: quantity, not quality. In real terms, the difference is negligible.

As with any smaller model in a cohesively designed range of amplifiers, the halving of power – if realised with this level of integrity – will only be apparent should room size or speaker sensitivity demand the extra wattage. other than that, the Momentum stereo will satisfy the vast majority of users in a domestic environment, while costing the same as a single Momentum monoblock. The experience will be instantly familiar to those who understand the D’Agostino approach, that of a velvet glove containing a mighty fist.

Power is never an issue. Speed and transient attack? Dazzling. Neutrality? So even-handed that it could be Swiss. And as for perceived value … this looks and acts exactly like the Momentum monoblock, the only clue to its two-channel status being the meter that displays both channels at once.

In an indecently short time, Dan D’Agostino has delivered his second assault on the high end, with a clear vision, a decisive approach and faultless execution. That it saves on both space and financial outlay is something much appreciated at present. Dan has even hinted that there may be an integrated amplifier in the company’s future. Whatever he decides to produce, we know that with the matching pre-amplifier revealed to the world this September, we are witnessing the arrival of a future dynasty.

200 W Stereo amplifier

Dan D’agostinoMomentum Stereo




Dan D’Agostino has achieved what was once thought impossible: extracting incredible power and incomparable finesse from a compact chassis. Creating an amplifier that could meet the demands of today’s audiophiles required two things: a clean slate and the skills of one of the world’s most talented, experienced and respected designers.

Momentum is the first amplifier offered by Dan D’Agostino to bear his own name. Co-founder and former Chief Engineer of Krell Industries, Dan earned a reputation for building the world’s best high-end amplifiers. With the Momentum, he begins anew, using the experience he gained in 40 years of designing amplifiers but starting with an entirely fresh approach, with no need to adhere to stale concepts.

Dan intended from the outset that the Momentum would neither look nor behave like any other amplifier. He developed a revolutionary cooling technique, the Momentum is the first production amplifier to use solid copper for its heat sinks. The thermal conductivity of copper is 91 per cent greater than that of aluminium, allowing the Momentum to use a much smaller heat sink.

To enhance cooling capacity, the heat sink uses venturis instead of fins. The mouths of the venturis measure 0.75in (1.9cm) and narrow to 0.5in (1.2cm) in the middle. As the air in the top of the venturis heats and expands, the shape of the venturis forces it upward and draws in more air from the bottom. The venturi-equipped copper heat sinks made possible the Momentum’s compact, 4in-high chassis.

Most high-end audio amplifiers consume hundreds of watts of power the moment you push the “on” button – even when idling and reproducing nothing but silence. With the Momentum, Dan D’Agostino has achieved a new standard in energy efficiency for the high-end audio industry. Despite its impressive output of 300W into 8 ohms, the Momentum monoblock draws less than 1W of power at idle – or about one-fifth of what a typical cell phone charger might require.

The 28 output transistors used on the Momentum are among the fastest high-output transistors available. They run at a blistering 69MHz, permitting the Momentum to achieve incredible bandwidth. Each transistor mounts with two stainless steel fasteners – a rarity among flat-package transistors – for maximum thermal transfer to the copper heat sinks. A capacitor/resistor network connected to the base of each transistor ensures stability at high frequencies and with low-impedance speakers.

Momentum’s chassis is machined from a solid aluminium billet, not stamped from sheet metal. It is non-resonant and provides superior shielding from radio-frequency and electromagnetic interference. The circuit board is assembled using through-hole construction, which resists heat far better and lasts longer than the surface-mount boards. All resistors are 1% metal-film types. Using through-hole construction also allows the use of higher-quality capacitors in the circuit, with none in the signal path – the amplifier is DC-coupled from input to output. The result is nothing short of spectacular and as T3 said recently: ‘‘300 watts of sweet, pumping, sexually invigorating audio’’.

300W mono amplifier

Dan D’agostinoMomentum Mono




As iconoclastic as is the darTZeel NHB-108 Model one power amplifier, it could only be partnered by a pre-amplifier sharing the same philosophy that motivates this Swiss firm. The NHB-18NS is the logical (how truly Swiss is that?) control unit for the Model one.

Like its sibling, there is no application of overall negative feedback. The delicate audio signals pass through only eight silicon junctions between input and output, including the 13dB fully discrete gain stage. For the phono stage, darTZeel used only three junctions, for a maximum additional boost of 60dB, or 73dB in total. No operational amplifier is used in the entire signal path. As in the NHB-108, all of the components used in the NHB-18NS pre-amplifier are the finest that can be sourced from the world’s leading suppliers.

Because no contacts, switches or relays of any kind interfere with the selection of the sources, the NHB-18NS exhibits a new level of transparency. Instead of routing the signal through a selector box, each input has its own dedicated gain stage, which is enabled or disabled according to the user’s choice. The signal is then directly routed to the volume control module.

A new volume control module, which avoids completely the use of any stepped attenuator, potentiometer or analogue switch array in the signal path means that the signal is attenuated in a fully passive manner, within a continuous range of close to 90dB in full analogue mode, without the use of any active component. These breakthroughs constitute a big step in the right direction: no harm to the signal.

The darTZeel NHB-18NS is a true dual mono preamplifier, from input to output, with separate earthing for left and right channels. Each channel is battery-powered by its own battery bank, offering 10 to 12 hours of listening pleasure before a charge is needed. A “smart” automatic function is provided as standard, allowing full battery operation when listening, with the charging mode activated when the unit is switched off. Hum is gone forever, and there is no need to wonder if the batteries need to be charged or not. So clever. So Swiss.

Preamplifer with built in Phono stage

darTZeelNHB-18NS


absolute sounds ltd 2012 CATALOGUEstudio line



It looks like no other. The colour scheme makes you smile, take notice, scratch your head. The legends – “Left Eye”, “Right Eye” – tell you that the manufacturer is a lateral thinker. But the ergonomics, internal construction and – above all – sound alert you to something that transcends circumstantial evidence. Absolute Sounds’ faith in and respect for the darTZeel NHB-108 Model one stereo amplifier have been rewarded with the sort of customer loyalty normally associated with Apple or Rolex.

darTZeel spent 16 years researching and developing every aspect of audio circuitry, embodied in a completely new amplifier. Amplifier circuits have, in the past, been treated as relatively simple because the design language is long-established. But darTZeel was not investing 16 years of research and development just to create impressive measurements. Instead, they created an amplifier with dignity: sonic excellence, supreme power delivery, pride of ownership. And a sense of humour.

Their products, above all, are designed and realised from a purely “humanistic” point of view. For darTZeel, music is not only a means for communicating and listening: it is a vehicle for expressing the soul of the music’s creators – benefitting the spiritual development of the listener. Music generates emotions that must be taken into account in the design process. Technology should only be applied to enhance the emotions, even transcend them, without altering them. once that goal is reached, then and only then will darTzeel concentrate on the “electrical performance”. Their slogan is “Listen first, measure later. Never the other way around.”

The darTZeel NHB-108 Model one was their first product. The rest is history.

Dual Mono amplifier

darTZeelNHB-108b model



DarTZeel’s NHB-458 sets a new standard: after nine years of constant research and continuous development, this monoblock amplifier has embraced all of the qualities of the acclaimed NHB-108 and increased or improved every parameter. It offers copious amounts of power for situations that require more than the NHB-108 can deliver: 450W RMS into 8 ohms, 800W into 4 ohms and 1000W to 2 ohms, with the peace of mind

offered by proprietary security software, and dynamic reproduction of music signals enhanced to their limits.

Like the NHB-108, no switches or relays interrupt signal path, save for an inert gas relay of the highest quality for the XLR input. There is no negative feedback. The signal path has been simplified to now contain only three discrete components instead of the six in the NHB-108, for the benefit of speed, transparency and dynamics, with the same vanishingly low distortion.

The NHB-458 benefits from the technical achievements of the CTH-8550 integrated amplifier, its display enabling the user to set important parameters including the type of input (XLR, RCA, BNC), nominal gain of 26db or 32dB gain, activation of the rear USB port and other options.

Thanks to the constant control and monitoring of every parameter, the internal software of the NHB-458 is able to prevent unwanted incidents, simply by interrupting the main power before the speaker coils grow dangerously warm. And yet, no limitations compromise the audio circuits, all control functions being managed externally, so that the maximum allowed peak current is simply enormous.

Given its high level of performance, sophistication in signal processing and listening pleasure, the darTZeel NHB-458 merits a spectacular housing. The front panel is 30mm thick, while the rear section, which incorporates the heat sink, is 85mm. The large support feet, made of aluminium, weigh more than 1 kg each. The glass side walls provide the owner with the pleasure afforded by looking inside – exactly like a Swiss watch with a sapphire back.

The NHB-458 is, in every detail, a product of superior engineering. The lucky owners of this remarkable device can experience, understand and, above all, savour the emotion of music, without constraint.

400w High Speed Mono AmplifierNHB-458darTZeel

“Revolutionary” is not a word to employ carelessly, especially in an industry that prides itself in cutting-edge technology. But the Devialet® D-Premier integrated amplifier and D/A converter is a palpable taste of the future, and its accomplishments have left its rivals wanting.

The product of four years of uncompromised research and development, the Devialet® D-Premier is the first device equipped with the ADH® core (Analog Digital Hybrid), a breakthrough innovation, patented by Devialet®, working in tandem with two Pure Class A analogue amplifiers, supported by eight digital power amplifiers. This combination has enabled the D-Premier to set new standards in all measurable areas.

Designed for the digital era, the D-Premier expresses Devialet®’s desire to surpass existing concepts through innovative technology. Including the best Digital-to-Analog Converter on the market, the D-Premier will bring out the best from all your digital sources, including computers, music servers or AirPort® bases.

It looks as amazing as it sounds, the D-Premier presented in a luxurious, carved-from-solid and polished aluminium block, only 32 mm high. It can be placed horizontally, or mounted vertically on a wall, all the better to blend into existing décor. A removable cover hides all the inputs, allowing for discreet installation. The control buttons are removed from the amplifier and placed on a dedicated radio-linked remote device, so you can enjoy and control your music from the comfort of your listening position.

Containing a 240W/ch stereo amplifier, the D-Premier enjoys great compatibility with a wide range of loudspeakers. Power consumption is highly reduced compared with traditional amplifiers: efficiency exceeds 85%, since most of the power is provided by the digital amplifiers inside the ADH® core. It serves as the heart of your system, its preamplifier suited to each input, analogue or digital, thanks to the presence of the finest D/A converter on the market – designed by Devialet®, and located in the core of the amplifier. Because of the shortening of the signal processing chain, the music avoids losses due to connections. Just plug your CD player or driver into a digital input, your computer or Airport® base, and enjoy your Devialet® D-Premier without unnecessary complication.

Elegance defines the D-Premier. only the power button remains on the appliance, all the other controls are placed on the handy remote device, highly sensitive and simple to operate. All the information is displayed on a high definition control screen, which adapts itself to the brightness of the room and to the position of the amplifier, whether vertical or horizontal.

obsolescence will never affect the D-Premier. When you wish to do so, you can easily configure and update the inputs setup and remote control buttons through a web interface, downloaded via SD Card. And even that is provided.

Integrated amplifier with DAC and phono stage 192 KHz resolution



Devialet ®D-Premier



EAT

E uropean Audio Team’s E-Flat is a new, forward-thinking turntable supplied with an innovative flat tonearm that provides this elegant deck with its name. Although flat arms have been seen in the past, none were able to offer the rigidity necessary to deliver the stable performance. Thanks to the continued evolution of carbon fibre, Forte has been able to create an arm with the practical and aesthetic benefits of a flat form, but without

the weaknesses.

Ultra-flat, ultra-light and ultra-rigid, the E-Flat tonearm measures 10in long. A unipivot bearing supports the E-Flat, its fully (and easily) adjustable counterweight decoupled by energy- and vibration-absorbing Sorbothane. The E-Flat’s unipivot system is extremely precise and accurately balanced, thanks to components endowed with especially hard metal surfaces, the high mass of unipivot housing and the added security of two metal guides.

A further benefit is that the arm “tube” can be changed by the user to suit specific cartridges, with either lighter or heavier arms establishing different arm/cartridge resonant frequencies. Adjustable anti-skating and damped cueing are also fitted.

A flat arm tube encourages the design of a flatter platter with easier, visible arm levelling – there is no taper to accommodate. With perfect integration to the unipivot design pillar, no hollow tube to suffer the inevitable echo effects or ringing, greater stiffness, a new and superior hanging counterweight design with very high damping properties, the E-Flat tonearm’s performance is truly quiet and incredibly “fast.”

This distinctive arm is fitted to a turntable that adheres to the basic principles established by the existing Forte models. Belt-driven, it features two motors like its “bigger sisters”. The motors do not run in parallel, but act like a virtual 24-pole motor. The belt encircles an inner sub-platter, which is fitted with inside bearing made out of bronze bushings. The main platter rests on an inverted bearing and a ceramic ball, with a Teflon lining on the underside of the main platter.

As with the larger Fortes, the platter is oversized compared to those on most competitors’ turntables. 33cm was chosen because the moving mass is twice that of a standard 30cm platter. Forte fits a vinyl mat made of recycled LP records to create a surface with properties sympathetic to the LPs it supports. The platter is filled underneath with Sorbothane to stop resonance, while Sorbothane is also used to damp the bearing housing, tonearm base and magnetic feet. In addition to the isolation provided by the magnetic feet, the bearing assembly and platter aperture are suspended. Also in common with the dearer Forte turntables, the Forte E-Flat exhibits an ideal balance between mass-loading and thoughtful subchassis design.

Turntable with carbon fibre arm and moving coil cartridge

E-Flat & Yosegi

TIntegrated Valve amplifier KT120 valves

JadisI-35



J

Mono Valve amplifier with KT120 valves

JadisJA-120



W

Double single triode Valve amplifier

JadisSE845-NEC



K oetsu, beyond doubt the most revered name in moving-coil cartridges, has always valued the innate characteristics of the materials used in the bodies and cantilevers of its designs. The designers realised that the materials can tune the sound of the cartridge with an ineffable quality that cannot simply be dialled in electronically.

Whether a type of wood or mineral or metal, every material used by Koetsu must go through the most rigorous testing procedures for purity and musical quality. The company’s legendary hand-wound coils and meticulously carved stone and wood bodies transcend the boundaries of art and science.

The latest to join the family is the Blue Lace, exhibiting blue, grey and white layers of fused quartz. Its beauty is unique due to the scarceness of blue stones in nature. But aside from its obvious aesthetic appeal, the Blue Lace batch was also specially selected because it is the hardest and most rigid among the onyx family, making it an exceptional cartridge housing thanks to its outstanding sonic qualities. Because of the limited supply of Blue Lace stock, they will only issue two Blue Laces a year.

Every music lover knows of the legendary sound of Koetsu cartridges from decades past. Those who have experienced Sugano’s Koetsus retain memories of a peerless musical experience. Few were privileged to own and enjoy a Koetsu. Many devotees search out second and third Koetsus, assuring a long, cherished relationship.

Now, in analogue’s renaissance and through the efforts of Sugano’s sons, Koetsu phono cartridges are again available. Limited in quantity due to their personal, hand-built nature, the range includes the Rosewoods, the Urushi, and the ultimate Koetsu, the onyx Platinum. Sugano’s sons have revived his art and continue to create musical masterpieces. For every music lover, the journey to musical nirvana is incomplete without a Koetsu phono cartridge in your system.

Koetsu Blue OnyxHand made moving coil cartridge



It was all a bit of shock back in the ‘90s when Krell suddenly introduced a neat little integrated amplifier in the form of the KAV-300i - such a contrast to their tradition of big, beefy power amps. But once past the scepticism we all realised, perhaps to our surprise, that this slim and unassuming device actually had a good measure of Krell’s unique signature: control, dynamics and an uncoloured presentation.

The Connecticut firm have not looked back from their entry into a more affordable market, and since then the line-up has never been without an integrated amp. Music lovers on a budget, but who wanted to experience and enjoy the Krell sound, have been treated to the 300il, the 400xi, S-300i, the massive FBi - and now a newcomer in the form of the S-550i.

Building on the success of the S-300i, which represented outstanding value for money with a significant uplift of performance over its predecessors - apart from the FBi, which is basically an integrated version of an FPB power amp - the S-550i delivers nearly 275 Watts per channel into 8 ohms and 550 into 4 ohms.

With a hefty current delivery, this baby can take care of any speaker and keep it well under control. Standing only five inches high, it houses a massive 1,750 Watt transformer which feeds classic Krell circuitry. This attention to the power supply, which has been a Krell tradition right from the start, is essential in bringing music to life, giving a freedom from the compressed and lifeless sound which can so often be a penalty of inadequate power supply - especially when the music programme calls for a big dollop of instant juice to handle sudden transients and dynamics.

The preamplifier section features circuitry based on Krell’s top-of-the-range Phantom, with dedicated power supply regulation. All signal gain components use surface mount technology, and have nearly 500 times the open loop linearity of other designs. No negative feedback is used, distortion is extremely low, and volume control is via a balanced resistor ladder. The result is another Krell preamplifier hallmark: virtually no alteration to transient response at different volume settings.

The rear panel features the usual balanced and single-ended inputs, but there is also a docking cradle for an iPod. Krell realised some years ago that the humble iPod, derided by many hi-fi snobs, could actually produce more than acceptable music if everything was done properly - their dedicated KiD being a fine example.

At one time integrated amplifiers were derided by audiophiles as being very much a compromise, incapable of getting anywhere near the performance of separates. It was Krell who changed their minds and proved that an integrated amp can actually have some advantages, such as a direct link between the pre and power sections. With careful design and shielding, there is no noise penalty caused by the proximity of the two sections.

The Krell S-550i is the ideal solution for those who want a neat and discreet system, but don’t want to compromise on performance, even with speakers that are a tough load and require plenty of muscle to make them sing.

High Power integrated amplifierS-550i




Krell Industries



CD/SACD player

Krell Industries.Cipher

W here is SACD these days? The answer is that it’s very alive, very well, and sounding terrific at Krell in the form of the new Cipher. When the legendary Connecticut company introduced the Evolution 505 SACD/CD player back in 2006 it was an instant hit. Some people weren’t sure whether SACD was really that superior to CD, but once they heard just how good this highest of silver disc resolutions could sound on the 505, they were

hooked and the player became a favourite of the high end - not just because of its SACD performance, but because it was also one of the finest CD spinners around. Although most of us have far more CDs than SACD’s, those higher resolution discs that we do have are usually greatly treasured and we want the best playback for them.

So there were mixed feelings when the 505 was discontinued and replaced by the Evolution 525 range of CD/DVD players. There is no question about it: the 525 gives superior CD performance to the 505, and by quite a margin, largely due to a completely different and much better digital-to-analogue converter - but SACD enthusiasts seemed to have been left out in the cold, and they made their feelings known.Krell responded in the best possible way by introducing the Cipher, which has the same DAC as the 525 but a different disc mechanism to handle SACD and CD. The result is a performance for both formats that is well beyond the already very high quality of the 505. The Cipher has become an instant high end hit and the subject of some outstanding reviews.

How have Krell achieved this? The answer, as in most high end equipment worthy of the name, is by at-tention to detail. Every possible performance enhancement has been incorporated, such as isolating the disc drive from the chassis, using composite mounts to minimise errors from vibration, and fitting special sound-deadening material in specific areas to eliminate resonances.

Disc-reading accuracy is enhanced by Krell’s own customised firmware, while the separate SACD and CD laser heads are individually calibrated by hand.

Instead of a conventional single DAC, which always leads to signal distortion, Krell employ one for each channel and these feed the native balanced current output directly to Krell’s long-established Current Mode circuitry. At the rear are balanced stereo outputs, six single-ended outputs for stereo or surround, and Krell’s own CAST two-channel sockets.

The company are famous for the attention they give to their power supplies, which they describe as ‘the backbone of all audio components’. The Cipher has inde-pendent power supplies for the drive, digital, and analo-gue sections from a massive toroidal transformer 10 times larger than that found in most players.

All of this adds up to a player that Fred Kaplan sums up in his review in ‘Stereophile’ as ‘the best I’ve heard in its price range, and the best I’ve heard, period, in my home system. If I can scrounge up the change, I’m buying one’.

T he Phantom III preamplifier is an exciting new Krell preamplifier to include a headphone input and an optional digital input module. The digital module features AES/EBU, coaxial, and optical digital inputs for use with streaming devices or other digital sources.

The digital module supports up to 24 bit/192kHz LPCM. All digital signals are fed to an ESS Sabre DAC and then sent to Krell Current Mode, discrete, balanced analog circuitry.

The Phantom preamplifier is a dual monaural design with the left and right channels afforded their own power supply regulation and individual circuit boards. All signal gain is realized in surface mount topology using proprietary multiple-output current mirrors with nearly 500 times the open loop linearity of other designs 700 kHz open loop bandwidth in a zero feedback, balanced, Krell Current Mode design. Negative feedback is not used anywhere in the preamp, nor is it necessary. open-loop distortion is typically less than 0.003%. The volume control is realized with a balanced resistor ladder — bandwidth and transient response of the preamp circuitry are virtually unaffected by the volume setting. The headphone circuitry is identical to the main circuitry, offering the same performance as speaker playback in a private listening environment.

oversized for a preamplifier, the power supply features a 95 VA transformer and 40,000 µF of capacitance giving it the ability to respond quickly to musical demands. The large power supply improves noise rejection and renders the Phantom III impervious to all but the most severe AC voltage power fluctuations. A new eco-friendly standby mode reduces power consumption to only 2W.

The Phantom III preamplifier is offered in diamond-cut silver or a luxurious black finish.

Preamplifier with built in power supply Phantom III



Krell Industries

R efined reproduction and overwhelming power define the Evolution 2250e. Boasting technology sourced from its award-winning larger siblings, the Evolution 2250e provides the immense drive and unmatched sound quality that are the hallmarks of all Krell amplifiers. Sharing the same advanced high-speed output devices, massive power supplies and unique Krell Current Mode circuitry, the Evolution 2250e delivers

performance that was previously reserved for far costlier products.

The Evolution 2250e is ideal for use in stereo music systems, but when coupled to the three-channel Evolution 3250e, this duo makes ideal amplification for home theatre applications, thanks to the prodigious power output of 250W/ch into 8 ohms and 500W/ch into 4 ohms.

Housed in elegant silver or black brushed anodised aluminium, the Evolution 2250e is the smallest amplifier in the Evolution e Series. The stylish faceplate features the blue power ring when in operating mode and green in low draw standby mode that is shared by all e Series amplifiers.

Amplifier with 2 and 3 channelsEvolution 2250e & 3250e



Krell Industries

As in the Evolution 707, the heart of the S-1200 is a classic Krell preamplifier. All eight S-1200 analog output stages are built to the same exacting standard and feature balanced and single-ended cable connections. Every channel utilizes discrete current based Class A, direct coupled circuitry for the greatest signal purity and highest bandwidth. Performance robbing op amps or integrated circuits are not used anywhere

in the audio path. Preamp mode bypasses all digital circuitry and routes analog stereo inputs directly to a balanced resistor ladder volume control for ultimate music reproduction.

A core element of Krell product development is the trickling down of technology from flagship products. In the case of the S-1200, it is the Evolution 707 that has shared its digital and video circuitry. The S-1200 incorporates the same dual core 32 bit Crystal CS497004 DSP’s operating in 64 bit dual precision mode. Decoding for Dolby True HD, DTS HD Master Audio, all the standard Dolby and DTS modes as well as nine proprietary Krell Music Surround modes are supported.

Video circuitry is also sourced from the Evolution 707 and utilizes all-discrete video circuitry. Video transcoding permits composite, S-Video, and component signals to be routed to the component and HDMI™ outputs. In the S-1200u model, this signal is upconverted to a maximum of 1080p resolution. Furthermore, the Evolution 707 is a true “one connection solution” with on-screen display, configuration menus, and status messages available from all active video outputs. 3D support has been added to the S-1200 in the S-1200 3D and S-1200u 3D models.

Preamplifier audio/video with 3D option

Video 3D compatibility

Krell IndustriesS1200 3D

At home Krell Evolution 707 and S-1200/S-1200u processors continue to be appreciated for sound quality and versatility. The 707 was recently honored by the magazine HomeTheaterReview.com as “Product of the Year”, while the S-1200 has received the Editor’s Choice by Harry Pearson Absolute Sound magazine. Compatibility with the 3-D is now offered by the new Evolution 3D 707, 3D S-1200 and S-1200u 3D. Krell also offers the opportunity to “upgrade” your previous models.



S ound, specifically music, contains the emotional content in movies. Whether action, comedy, or thriller, it is the music that drives the action that is on screen. This reality spawned the Evolution 707 development. The Evolution 707 is an all out assault on the preamplifier/processor category. Analogue circuitry technology from their Evolution Two preamplifier, state of the art digital processing, and the latest in surround formats including

3D compatibility, results in an uncompromising centerpiece for a reference music and home theatre system. Housed in a chassis normally reserved for Krell amplifiers, each critical sub circuit is given unrestricted space for maximum circuit sophistication. Designed to take full advantage of the lossless Dolby True-HD and DTS Master Audio soundtracks found on Blu-ray discs, the Evolution boasts the most advanced circuitry ever employed in a surround sound preamplifier/ processor.

The Evolution 707 includes twelve output stages with two centre channel and four subwoofer outputs, in an 8.4 channel configuration. All channels feature Krell Evolution CAST™ circuitry for the most stunning reproduction of today’s high-resolution movie soundtracks. Preamp mode bypasses all digital circuitry and routes the analog input, stereo or 7.1 multi-channel, directly to the 16-bit balanced resistor ladder volume control for the purest signal path possible.

At the heart of the Evolution 707 digital signal processing is a pair of dual core 32 bit Crystal CS497004 DSP’s performing 1.8 giga operations per second. Video signals are treated with equal care and are afforded isolated circuitry for broadcast quality transmission of signals up to 1080p/60Hz. Maximum color depth has been increased from 24 bits to 48 bits and bandwidth from 165MHz to 340 MHz. Full video transcoding permits any composite, S-Video, or component signal to be routed to the component and HDMI™ outputs and includes upconversion to a maximum of 1080p resolution.

Included with the Evolution 707 is a sensitive calibration microphone that gathers information from the listening environment. ARES or Automatic Room Equalization System, is a powerful internal Krell software program that analyzes the microphone data and suggests a set of calibrations for optimal performance. For the future, the Evolution 707 software based core is readily updateable via a standard RS-232 computer connection if operating or performance improvements become available.

The Evolution 707 aesthetic extends Krell industrial design and takes surround preamplifier/processor construction to an unprecedented level. Housed in the same chassis as the Krell Evolution 402e stereo power amplifier, the Evolution 707 stands nearly 10” tall and weighs in at over 50lbs. The custom machined aluminum chassis includes diamond cut detailing that not only looks incredible but also fronts the resonance free environment that contains the sensitive electronics within its core.

Preamplifier audio/video with 3D optionEvolution 707 3D



Krell Industries

T here’s no doubt about it, Magico are on a major roll. No sooner do they introduce their flagship Q series of loudspeakers, than they take us all by surprise with a real-world, super-value speaker in the shape of the S5. This is one shockingly brilliant design.

Successor to the highly respected wood and aluminium V3, the S5 is totally different. Utilising a sealed and curved enclosure from half-inch thick 16-inch diameter extruded

aluminium, it sports two in-house designed 10-inch woofers, a six-inch midrange and a one-inch beryllium tweeter. And if you like to play loud, you’ve come to the right speaker: with a 90dB sensitivity and 1200 Watt power handling, this will comfortably hit 118dB. Neighbours, be warned!

It created a storm at the Munich High End show this year as listeners were drawn to its breathtakingly natural presentation of music - unrestrained, uncoloured, open, detailed, and with bass impact and definition that startled everyone. And it is domestically very friendly, as Magico are offering a range of six standard gloss finishes, with custom colours available at additional cost. For the first time on any Magico speaker, a removable grille is part of the package.

Magico boss Alon Wolf has described the S5’s value for money as being ‘off the charts’. So how has it been done? The enclosure is vey stiffly braced, but not quite so elaborately as in the Q series, and costs have been saved by having a more conventional front baffle with drivers bolted on from the outside. The Q range all have a baffle machined to complex compound curvatures with the drivers secured from the inside so that not a single fastening is on view.

The big S5 woofers are entirely new designs from Magico tech genius Yair Tammam, and combine massive power handling in the low bass with a distortion-free response at the top of the pass band. The midrange, again, can take great power while being extremely low in distortion, while the highly advanced tweeter is similar to those often found in reference speakers bearing six-figure price tags.

As with all Magico designs, the latest custom computer simulations are employed to optimise electromagnetic and thermal behaviour. The result is a speaker that sounds absolutely right, as the reviewer Jeff Fritz found: ‘Robust and powerful in the bass, smooth yet detailed in the treble, with an intoxicating midrange that would seem to invite long listening sessions’. He said the highs were airy and fast and never became harsh, and the S5 seemed to be voiced just right.

‘These speakers will play loud, clean - and loud’, he wrote, adding that they played louder than any other speaker he had heard anywhere near their size, and although they had an astonishing dynamic range, they always displayed finesse and a silky smooth midrange. He found the sound visceral to the extreme, yet also highly refined.

This is the speaker that does everything, from pipe organ to flute, from solo vocal to rock ‘n’ roll.

Easy to drive, easy to live with, fun one minute, serious the next. What more could one ask?

3 way floor standing aluminium loudspeaker system

S5



Magico

studio lineabsolute sounds ltd.


It had to happen. once the real-world mighty Magico S5 was announced it was obvious that something smaller and even more affordable was going to come along - something else, of course, to shatter our perceptions of what a small loudspeaker can do.

And here it is: the S1 is a tall, slim tower with just two drivers - and Magico know all about what can be done with only two drivers. Their mould-breaking standmount, the Mini, set this

Berkeley-based company on the road to fame in 2004. An instant hit, it did things no standmount had done before by displaying a huge soundstage, great dynamics, and a scale that belied the small size of the cabinet. In truth, though, the whole assembly of the Mini was anything but mini with its heavy and exotic stand, but it was a thing of beauty with its curved layered birch cabinet and aluminium front baffle.

However, it was always the aim of Magico’s Alon Wolf and techno wizard Yair Tammam to produce loudspeaker enclosures made entirely from aluminium to maximise inertness and prevent cabinet movement. Subcontracting the machining made this extremely expensive, but once they acquired their own milling equipment the stage was set for their dreams of producing designs without compromise to be realised. The Q series soon appeared, each one being received with something bordering on disbelief at the way the speakers just got right out of the way of the music, and the Mini was replaced with something even more mini but with far greater performance - the incredible two-driver Q1.

But the Q series are expensive speakers - costly to make, costly to buy, with their complex and heroic internal bracing and front baffle with double curvatures. Something more affordable had to be made. First to appear on the scene in a blaze of acclaim was the S5, quickly followed by the S1, a speaker that, with its attractive pricing, will bring Magico performance to a wider ownership.

With its slender monocoque construction from 12-inch extruded aluminium, the S1 displays elegantly simple and pleasing lines, the only fastenings visible being for the seven-inch mid-bass driver and one-inch beryllium tweeter mounted near the top of the enclosure. The midrange is, as usual, a dedicated in-house design from Tammam designed for minimum distortion and coloration and high power handling.

Standing 43 inches tall, the S1 is a mere 9.75 inches wide and 8.5 inches deep, but as testament to its solidity weighs in at 95lb. Like the S5, it has been designed to fit into any domestic environment with a standard range of attractive finishes. With an 86dB sensitivity and a 4 ohm impedance, minimum recommended power is 50 Watts, so most good quality amplifiers will be very happy in the S1’s company.

Surprisingly, the combination of driver and cabinet design allows this speaker to dig down to 32Hz - an extraordinary achievement for so diminutive a design. But this is Magico, and with Magico you get the unexpected - music without the sound of the cabinet getting in on the act.

2 way floor standing aluminium loudspeaker system

S1



Magico



2 Way standmount aluminium loudspeaker

MagicoQ1



F or many speaker connoisseurs, Magico’s now legendary Mini II was perhaps the finest standmount loudspeaker ever made. So, when it came to designing a replacement, the company’s engineers knew they had to deliver something truly special. Without question, they have succeeded: ladies and gentlemen, we bring you the magnificent Magico Q1.

It was clear from the outset that Magico would base its new standmount design on its unique Q platform, the result of meticulous research that had already yielded the peerless Q5 and Q3 floortsanders. Just like its larger siblings, the Q1 incorporates Magico’s brilliant MBe-1 tweeter with its Beryllium dome, plus the company’s proprietary seven-inch Nano-Tech mid/bass driver, sporting a cone made from layers of carbon fibre composite with a Rohacell foam core. This ensures exceptional system efficiency and power handling, allowing the Q1 to be driven by high-quality amplifiers delivering as few as 50 watts per channel.

The drivers are housed within a fully braced, fully damped, hard-anodised aluminium and copper enclosure, exhibiting Magico’s immaculate fit and finish throughout. Continued research into the Q platform’s damping mechanism has enabled Magico to address the problem of resonance that is common in standmount designs; instead of attempting to add mass to the stand and decoupling the speaker, the Q1 is directly coupled and the stand itself is a damping mechanism.

Thanks to Magico’s uniquely scientific approach to loudspeaker engineering, the outcome is a standmount speaker with an explosive, full-range performance. It is a two-way monitor the like of which has never before been heard, exhibiting a true absence of compromise that brings music to life in thrilling fashion. For such a diminutive speaker, its bass extension is extraordinary, its resolution exemplary and its dynamic range simply breathtaking. Compact yet unconstrained – the Q1 is utterly unique.

studio line

4 Way Heavy mass aluminium loudspeaker

MagicoQ7



T he mighty Magico Q7 has been hailed in a review as the finest loudspeaker in the world. What exactly does that mean? Is it merely the best speaker the reviewer has heard, or is it something more profound, more elemental?

Everything was fine and comfortable at the high end until those mavericks from Magico in the shape of Alon Wolf and technical genius Yair Tammam came along and shook up

our perceptions of how we listened, firstly with the wood and aluminium Mini, V3 and V2, then in a totally shocking way with the Q5, first of the current pure aluminium range.

But superb is never quite good enough for Alon and Yair, and to prove it they embarked on their most extraordinary and magnificent work - the Q7. As they put it: ‘The journey to create the finest unlimited class loudspeaker in the world has stretched the very boundaries of what is technically and creatively possible in loudspeaker design’.

The Q7’s enclosure gives a new definition to the word ‘inert’, with each speaker weighing in at a crushing 750lbs. There is nothing fancy or contrived about the appearance - merely a case of form follows function, with beautifully dark anodised panels and a front baffle of compound curves. But it’s what you can’t see that is so mind-blowing, for the interior of the enclosure is a close-knit and highly complex interlocking structure of aluminium frames and brass bars to take enclosure rigidity to unprecedented levels.

This dedication to every last detail means that Magico’s own drivers, designed by Yair from the ground up, can perform in the most ideal environment and do what they are supposed to do without anything else going on, such as cabinet resonance. Unusually, the bi-wired binding posts are mounted more than half way up the back of the enclosure so that they connect virtually straight into the crossover without any extraneous lengths of cable - another example of detail fanaticism.

At 60 inches tall, 15 inches wide and 32 inches deep at the base, it is big, but by no means the largest speaker in the world, although two 12-inch bass drivers, a 10-inch mid-bass, 6-inch midrange and one-inch beryllium tweeter promise a prodigious performance.

So how does the Q7 sound? The answer is that it is the nearest thing to sounding like nothing at all, which is what a loudspeaker ideally should be - just a conduit for the music without adding its own contribution to the performance. The result, which is shared by all the Q series, is a rendition of extraordinary clarity, detail and composure, from the lowest whisper to an ear-shattering crescendo. With the Q7’s power handling of 1200 Watts and a sensitivity of 94dB, one can get an inkling of just how loud it can play - and even at those levels it remains totally unflappable, composed but thrilling, displaying authentic tone colours, timbres and dynamics.

Magico speakers do not have some unique ‘house sound’; they just get out of the way and let the music speak for itself. Reviewer Jeff Fritz was deeply impressed by all these qualities, both subjectively and objectively, and he concluded by saying: ‘Right now we all have to live with these facts: the Q7 is very expensive. It’s very big: It comes only in black. And it’s the best loudspeaker available today’.

studio line

C LX represents the culmination of everything learned about electrostatic technology since MartinLogan brought their first product to market in 1983. Purity of sound permeates your entire room and satisfies even the most critical ear. The industry benchmark for resolving detail, CLX utilizes dual electrostatic

transducers to render the most complex musical passages as faithfully as a crystal prism disperses the full color spectrum. This is the limitless spectrum of the CLX - the absolute truth in musical reproduction.

MartinLogan’s award winning Curvilinear Line Source (CLS) XStat electrostatic (ESL) technology allows smooth unencumbered dispersion of sound throughout the listening area. The result? Perfectly etched imaging and focus achieved through minimal room interaction; optimum natural reproduction of sound with full level response from ultra-linear transducers; reliable operation in open air; compatibility with all electronics; and seamless dispersion of precise sound throughout your listening environment.

CLX’s unique DualForce double diaphragm, triple stator dipole low-frequency electrostatic transducer delivers deep, dynamic bass with twice as much force as a standard ESL. Additionally, CLX’s low-frequency dipole stabilization technology reduces low frequency rear wave cancellation inherent to dipole transducers.

Featuring an advanced proprietary Vojtko filter topology, MartinLogan electronic specialists hand-build each CLX filter utilizing only the finest of components and construction techniques to assure the cleanest, most precise signal path possible. The resulting precision filter flawlessly preserves even the smallest subtleties in sound while effortlessly handling the broadest range of dynamics contained within even the most demanding sonic source, whether used in a 2-channel audio system or dedicated home theatre.

Within the interface module, a regulated power supply creates stable bias voltages even under the most extreme conditions. Dual transformer design utilizes a toroidal audio transformer for detailed mid- and high-frequencies, and a high-quality, high-voltage E.I. transformer for dynamic, linear bass. All high-voltage leads are made of the purest copper and coated with silicone. only superlative materials, including thick film on alumina substrate resistors and polypropylene capacitors, are used throughout.

CLX ART comes standard with a gently curved Art Frame and is available in 4 standard hand-rubbed, real-wood finishes; black ash, dark cherry, natural cherry, and maple. of course, CLX may be customized with any exotic wood finish you desire, as well as a myriad of analine dye colors, linear frame and premium high-gloss options.

Full range electostatic loudspeaker

Martin LoganCLX Arte



Montis represents the latest evolution in the MartinLogan Reserve ESL Series. Fol-lowing in the footsteps of our award-winning flagship hybrid ESL speaker, the Summit™ X, Montis blends legendary sound with sophisticated styling. Years in the making, the Montis builds on a number of unique MartinLogan manufacturing techniques and materials; XStat and AirFrame™ technologies, vacuum bonding, Mi-

croPerf stators, a CLS™ (Curvilinear Line Source) electrostatic transducer, dipole sound radiation, a low-distortion aluminum-cone woofer, advanced Vojtko™ filtering, a 24-bit Vojtko DSP engine, and 100-Hz level control.

The electrostatic transducer deployed in the Montis represents the largest panel available in a hybrid electrostatic loudspeaker. This large panel size allowed engineers to lower the speaker’s single cros-sover point to 340Hz, bringing more of the electrostatic clarity into the critical midrange frequencies. The XStat transducer features advanced MicroPerf stator technology giving the latest-generation Curvilinear Line Source electrostatic transducer almost twice as much exposed diaphragm surface as a traditional electrostat of the same size. This dramatic increase in effective radiating area transla-tes to the highest levels of efficiency and an effortless, unlimited dynamic presentation.

MartinLogan’s dedicated in-house design and engineering team created an extremely precise 24-bit Vojtko DSP engine in conjunction with a powerful 200-watt class-D amplifier to deliver a stunningly detailed low-frequency performance reaching down to 29Hz—uncommon in cabinets this compact. DSP technology allows complete control and performance optimization over the low pass filters, woofer equalization, and limiting functions, all of which are mapped mathematically in the digital domain. Additionally, integrated low-frequency equalization below 100Hz further enhances bass per-formance by allowing precise tailoring to adjust for individual room acoustics.

Proprietary Vojtko filtering technology is utilized for Montis’ electrostatic transducer. This audiophile quality network, derived from the CLX, is carefully hand-built using polypropylene capacitors, mas-sive air-core coils, and a custom wound toroidal audio transformer—flawlessly preserving micro-acoustic subtleties while effortlessly handling the broadest range of dynamics contained within even the most demanding sonic source.

Montis is available in 3 hand-rubbed, real-wood finishes; black ash, dark cherry, and new for 2011, black cherrywood. The new luxurious high-gloss black cherrywood finish has deep cherry underto-nes and appears almost black in low light, giving Montis a unique and understated elegance.

Electrostatic loudspeaker with self powered dynamic bass

Montis



Martin Logan

S haring with its PoweredForce™ counterpart Ethos, Theos’ unique XStat™ transducer was developed to exclusively address specific mechanical requirements. Vertically identical in size and dispersion to the

flagship Summit™ X, Theos’ 9.2-inch (23cm) horizontal panel dimension required a tighter curve to achieve MartinLogan’s distinct 30-degree dispersion pattern. To accomplish this MartinLogan engineers reduced the gauge thickness of the steel stators. The reduced gauge does not alter the superlative performance characteristics of Theos’ electrostatic panel. However, as a natural byproduct of tighter build tolerances, visual transparency of the panel is increased significantly. Theos’ new XStat panel is so visually transparent that it nearly vanishes when you’re sitting and listening.

Embodying the sophisticated engineering and design of MartinLogan’s critically acclaimed flagship CLX™ loudspeaker, the Theos features advanced XStat™ electrostatic technology and a proprietary Vojtko™ crossover topology delivering the highest sonic standards of efficiency and precision. A passive 8-inch high-excursion ultra-rigid aluminum cone woofer and ultra low turbulence down-firing bass port generate unyielding, detailed bass down to 43Hz. Custom coupling spikes and tool-less bi-wire binding posts provide the final touch—providing the ultimate level of flexibility for connection and setup.

MartinLogan’s proprietary tool-less binding posts simplify cable connection and management while allowing the ultimate level of amplification connectivity. Two sets of custom binding posts are supplied—one connected to the electrostatic panel and the other feeding the woofer. Listeners can choose to vertically/horizontally bi-amp the Theos, or use jumpers between the binding post sets for a single wire-connection. To further simplify setup and cable management, the Theos features a low-voltage DC power supply.

Electrostatic loudspeaker with passive dynamic bass

Theos



Martin Logan

A cute little bookshelf speaker coming from Martin Logan, makers of traditionally tall and elegant electrostatic designs, is something of a shock in itself. But there are two more surprises: firstly this is a bookshelf speaker that can actually sit on a bookshelf, and secondly - this is the biggest shock - it has a performance that is almost unbelievable for its size, weight and price. Crammed with the latest technology, this cute and beautifully finished rear-ported cabinet

can be installed as part of a complete surround or cinema system using Logan’s Motion series, or it can be used for two-channel enjoyment anywhere you like - your study, for example, or bedroom.

Measuring just 11.8ins high, 6.8ins wide, 9.5ins deep - not much bigger than a shoebox - and weigh-ing in at 12lbs each, the Motion 15 is available in lustrous black or white gloss and dark cherry finishes, while its gently rounded edges and downward-sloping top give a sophisticated appearance.

Featuring Logan’s superb low-dis-tortion Folded Motion Transducer, the high frequencies are in a league of their own for a speaker of this size and price: open, airy and scintillat-ingly detailed in a way that is utterly seductive. The midrange is a more conventional 5.25-inch aluminium cone with a rigid structured dust cap to minimise break-up modes, while the advanced crossover design fea-tures thermal and current protection.

Unlike most small speakers, which are generally fairly insensitive and quite a load for an amplifier, the Mo-tion 15 has a healthy 92db efficiency and a 5 ohm impedance.

All of this adds up to an extraordinary performance from one so small - refined, smooth, exceptionally clear with great presence, and terrific dynamics.

We have all got used to speakers carrying the adjective ‘bookshelf’ which either won’t fit on a book-shelf or look quite ridiculous on one because of their size. The Motion 15 does what it says and more: it sits unobtrusively on a bookshelf, it sits easily on a desk with your computer, it can fulfil front or surround duties in a cinema system - it goes anywhere, while its beauty and performance put a smile on your face.

Best of all, it brings the first rung of that daunting high end ladder within easier reach, for the price is an astonishing £795 a pair - and with its high efficiency you don’t need some super blockbusting power amp. one of the great benefits of a company that specialises in expensive very high performance designs is that the knowledge gained can be be used in a simplified form in more acces-sible products, with huge benefits in sound quality.

The Motion 15 is one such product: a legend on a bookshelf, and certain to be a future classic.

2 Way with folded motion tweeterMotion 15Martin Logan


2012 CATALOGUEabsolute sounds ltd

Motion 15

When we heard that there have been complaints about the levels and clarity of dialogue in current films and television shows, we immediately assumed that those suffering were listening to either the speakers built into their LCDs and

plasmas. And we also thought of one of the finest ranges of centre-channel speakers on offer, models with such detail and, yes, clarity, that even compromised broadcasts – did you try to understand Parade’s End? – sound more intelligible, more natural, more realistic.

MartinLogan’s superlative Stage and Motif centre-channel systems provide electrostatic/dynamic hybrid technology, as mastered only by MartinLogan, in enclosures too handsome to hide. The Stage is a wide bandwidth system (offered in black or natural maple) that will satisfy the most fastidious of cineas-tes, while the smaller Motif can be used on- or off-wall.

And while we don’t want to torment those of you with smaller, secondary systems, such as a flat panel screen in the kitchen or bedroom, MartinLogan has hinted at a project they’re working on right now for those who love movies and TV: the company is currently refining the Motion Soundbar Concept – a sleek, compact one-piece speaker providing three channels of sound from three Folded Motion drivers!

Centre channel loudspeakerSTAGE X /MOTIF XMartin Logan



Stage X

Motif X

Top-loading CD player CD8

In rationalising and reworking their range of CD players, transports and converters, Metronome Technologie have made sure they have something for every high end price point. The new entry level is the beautiful-looking CD8 with integrated digital-to-analogue converter - but there is no cutting of corners here to build down to a price.

Available in two versions - solid state as the CD8 and valved as the CD8tube - this is a top-loader, in common with all Metronome players, and features a custom-modified Philips CDM12 PRo 2 v6.8 mechanism with a specially designed shaft and Delrin clamp to give the best stability for the disc. This transport is common to all Metronomes, but obviously the circuitry and architecture vary considerably depending on the model.

The CD8 replaces the CD one, itself a fine machine, but the latest model expands on that and takes performance even further into high end territory. Sporting a true 24bit/192khz capability and a frequency bandwidth of 10hz - 25khz, this player will give a beautifully open, airy and dynamic performance with plenty of detail and authority.

A comparatively heavy piece of equipment weighing in at around 33lb, it is as beautifully and precisely machined as its more expensive brothers, with the manually operated sliding lid having a reassuringly smooth and solid feel. At the rear are single-ended and balanced outputs and an S/PDIF phono socket for those wanting to connect to an external DAC. In common with other Metronome models, the CD8 also has a USB input so that a PC or Mac can hook straight in. There is increasing interest in playing high resolution music files, and many of us are now becoming accustomed to working with a media that has no physical form - something that would have been unimaginable until quite recently .

When the old CD one was reviewed a few years ago it was described as having a deep and powerful bass with a great sense of weight to the music, creating an impressive three-dimensional soundstage. The CD8 takes all these strengths to a new level as a result of refinements, and the power supply has individual transformers with seven separate regulation lines for each part of the transport - an important feature common to all the company’s designs. EMI rejection is assured with high quality Schaffner filters, while a continuous ground link from the disc surface to the electrical earth helps to dissipate static electricity to give the best working environment for all components.

Available in a choice of all-black or all silver, the CD8 comes with a high quality remote handset.

As with all products from this French manufacturer, the CD8 is very much an individual design, different from the usual high end player in both performance and appearance - but one look is enough to tell you that this is one classy piece of equipment, and one listen will tell you all you need to know: this is something very special in the world of integrated CD players.

Metronome Technologieabsolute sounds ltd.


CD transport top-loading Calypso Reference



Metronome Technologie

studio line

T here are people who think CD has had its day. Perhaps it has - for them. But people were saying the same thing about record players more than a quarter of a century ago, and just look how far vinyl replay has come since then.

Vinyl and CD have lived happily together for many years, and both have been developed into extremes of excellence. However, in the realm of high end CD players, Metronome Technologie of France have given the word ‘extreme’ a new definition.

Formed in 1987 by Dominique Giner when CD was in its infancy, Metronome have designed and produced some landmark players and converters, the most famous being the Kalista range: breathtakingly beautiful, breathtakingly expensive, and a performance that was quite literally incomparable.

But Giner is not one to rest on his laurels; he and his team are always pushing the envelope to extract even more realistic music from the silver disc. Developed from the Kalista, and looking quite similar, the company recently announced the Calypso range. Top of the tree is the Calypso Reference transport, which features the Philips CDM12 PRo 2 v6.8 mechanism - considered to be the finest pure CD spinner. This has been modified by Metronome to improve performance even further and a new clamp has been designed consisting of stainless steel and PMMA, which is rather easier to say than PolyMethylMethAcrylate.

What makes the Calypso special is the fanatical attention to detail, the tiny things that on their own might seems to be unimportant but, when added up, make a big difference to the listening experience. But Giner wasn’t happy until he had access to equipment that could machine to within a hundredth of a millimetre. And it shows: the jewel-like appearance of the Calypso is testament to his unerring attention to absolute precision.

Although specifications can never tell the full story, they certainly say something - for example, a dynamic range of 175dB and distortion at -140dB, plus the lowest possible jitter. The Reference comes with a separate and massive power supply called the Elektra. This has individual transformers and independent regulation lines for all critical parts of the transport - display, servo mechanism, motor and digital output stage. The technology in this unit gives protection against EMI/RFI radiation and ensures an analogue-like sound quality.

The soundstage and dynamic abilities of the unit are enhanced by the elegant 40mm thick acrylic ‘silent base’ support, which rests on three free-moving stainless steel bearings and cups.

At a flick of a switch the Calypso can send a 24bit/96khz upsampled signal to the DAC, and at the rear are multiple outputs for S/PDIF, AES/EBU, and AT&T.

For those seeking a new insight into their CD collection, there is no finer instrument. It doesn’t do SACD, it doesn’t do DVD-A, it doesn’t do Blu-Ray: this is simply CD replay taken to the limits.

CD transport top-loading Kalista Ultimate SE



Metronome Technologie

studio line

There are CD transports. There are exotic CD transports. And then there is The Ultimate: the Metronome Technologie Kalista Ultimate SE, to be exact. This brain-warping piece of French engineering takes the art of spinning the silver disc to the absolute limits of excellence - and then maybe a little bit further.

The Kalista Ultimate SE is the latest in a series of money-no-object range of CD transport It is based on the reference standard Philips CDM12 Pro V6.8mechanism partnered with a CD clamp combining Delrin and stainless steel, further improving stability during rotation of the CD and thus extracting digital data more accurately. The recurrent problem of static electricity accumulating on the surface of a CD during its rotation is now eliminated thanks to the stainless steel spindle purposely designed to minimize static charges. The transport boasts a dynamic range of 175db with distortion running below -140db with a resolution of 24bit. Digital output comprises of AT&T, S/PDIF and AES/EBU to deliver the digital data to the recommended Metronome C2a DAC.

The Upsampler - This circuit receives the digital data at 24Bit/44.1KHz and upsamples the signal into 24bit/96kHz format. This repackaging is done in 32 bits portraying beautiful dynamics whilst increasing resolution and offsetting high frequency digital noise generated by the digital processing. This process allows the use of a low-pass filter with a soft slope ensuring an improved pulse behaviour. The listener can also enjoy the CD in its native format of 24Bit/44.1Hz. In this mode the Upsampler is disabled via a switch on the back of the Kalista Ultimate SE. To ensure the best possible performance, these circuits have independent power supplies.

The Power Supply - The Kalista Ultimate SE is delivered with the ‘almighty’ Elektra power supply. Fitted with three powerful high quality toroidal transformers with five independent stages of regulation and with a storage capacity of more than 1.2 Farads, it delivers a perfectly clean power to each of the individual functions of the CD transport with an operating margin much above the specified requirements. The technology incorporated in the Elektra power supply surpasses any battery mode power supply.

The Base - The Kalista Ultimate SE silent base has a thickness of 60mm, and is decoupled from the transport by aluminium bearings, which absorb micro vibrations. This new aluminium bearing support system significantly expands the soundstage while providing normally unheard dynamic contrast. It also enables a considerable depth between the musical notes.

The Stand - The three 540mm high feet made of solid aluminum are firmly secured at the top by a star shaped Perspex with a 40mm thickness, which provides a very rigid support whilst ensuring effective decoupling of vibrations transmitted from the ground.

The sum of these components makes this a true reference CD transport to cherish and expand your CD music collection. The final result is a Formula 1 CD transport!

Reference level DAC’sC5 and C8

Anyone fortunate enough to be the proud possessor of the new Metronome Technologie Calypso Reference is going to need the very best digital-to-analogue converter to extract all that this monumental CD transport has to offer. The obvious, and best, choice is the very latest top of the range model from Metronome itself - the C8. This two-chassis design replaces the famous C2A converter and somehow manages to deliver even more.

Standing slightly taller than its predecessor, the C8 features all that Metronome has learned over 25 years about delivering the finest analogue performance from CD. The four digital-to-analogue converters use the finest 24bit/192khz technology, with internal 32bit processing to give fast, dynamic and crystal clear sound. A thoughtful touch is that the upsampler and converters are mounted on a separate board that simply plugs in, thus making any future upgrades a simple operation.

The old C2A had two valves in the analogue stage, a feature beloved by those who want that slightly euphonic but endearing liquidity to their music. The C5 also has valves, so no one is going to be disappointed - but for those who really cannot get on with the glowing tube, then this converter can be operated in either solid state or tube mode by the simple flick of a switch, thus making it an extraordinarily versatile device.

In addition to the stereo RCA outputs at the rear there is a pair of balanced XLR sockets driven by very high quality Swedish Lundahl transformers. Inputs include S/PDIF, AES/EBU and USB. All these can accept from 44.1 up to 192khz signals, and the USB socket will be of special interest to those who are exploring the virtues of computer music playback.

All this is in one chassis - so what is in the other? obviously the power supply - and what a comprehensive one it is, as full of features as that of the Calypso Reference, with individual transformers and discrete regulation for the digital input stage, digital upsampling and processing, converter and analogue output, plus effective shielding from EMI/RFI radiation. The result is a dynamic analogue-like sound quality.

Boasting a dynamic range of 175dB with distortion and noise at -140dB, the C8 is at the very pinnacle of converter technology.

of course, not everyone can aspire to these dizzy heights, and they might want something a little slimmer for their equipment rack. Metronome has the answer in the new C5, which has the same basic specifications as its bigger brother, but incorporates all functions and power supply with more simplified circuitry within one unit that stands a mere 75mm high. This would be the ideal companion for anyone wanting to give their CD collection a shot in the arm or for owners of the matching Metronome T3A. Like the C8, it also sports a USB input.

Metronome Technologie have recently revamped their whole range and incorporated the very finest workmanship and technology into their exciting new designs which have a performance that is second to none.

Metronome Technologieabsolute sounds ltd.




Integrated amplifierIA-400

Neat, functional, great sound and superb value for money. That sums up Micromega, who continue to delight us with their latest offerings.

With 20 years of experience behind it, this French company is never one to stand still, and it has just announced a powerful new integrated amplifier, the IA-400, which is

capable up driving even the most difficult of loudspeakers.

Although all the circuitry is in one enclosure, the IA-400 can be considered as two different units: the preamp section and the power amp. With a transformer specifically dedicated to low-level signals, any coupling between the two sections is kept to an absolute minimum, and ultra low noise regulators allow high resolution of fine detail.

The power amp section delivers a hefty 400 Watts into 4 ohms via Class D modules in dual-mono configuration. The choice of Class D gives very high efficiency with low operating temperatures, while a special circuit to detect current protects the speakers in the event of a serious malfunction of the output devices.

The IA-400 also includes a dedicated headphone amplifier and a bypass for an external processor.

Available in Micromega’s classic sandblasted finish of silver or black, the IA-400 will provide a neat and cost-effective solution for those on a budget, and is ideal for audiophiles looking for simplicity and ease of use.

Micromega



High tech full function portabe DACMyDac

Neat, functional, great sound and superb value for money. That sums up Micromega, who continue to delight us with their latest offerings. You can always trust Micromega to come up with an innovative design that breaks the price-performance barrier, but with their new MyDAC they have excelled even themselves.

Reviewers tend to be a little cynical about some of the hype that surrounds many audio products, but the first to treat his ears to this little marvel has been shocked by its astonishing musical ability. In terms of performance it is huge; it terms of price it is peanuts.

So what is it, and what makes it so special? A small black or white box, about the size of an Apple AirPort Extreme, and is packed with the latest technology. The USB input works in asynchronous mode up to 24bits/192khz and handles USB audio class 1.0 and 2.0 modes without any driver implementation for a Mac, and a custom driver for a PC. Jitter, that bane of digital audio, has been reduced to insignificant levels with two high performance master clocks with dedicated low noise power supplies. one handles the 44.1kHz group of frequencies (maximum 176kHz), the other the 48kHz group, which goes up to 192kHz.

There are no electrolytic capacitors in the audio path or in the extremely fast, low noise onboard power supply. At the rear are inputs for S/PDIF coax cable and Toslink optical cable in addition to the USB port. These can be selected from a four-position horizontal rotary wheel at the front, which also selects between standby and power. Energy consumption is almost non-existent: less than 500 milliWatts in standby and lower than 2.5 Watts in operation.

How does it sound? The reviewer Robert Harley was staggered: he couldn’t wait until his full review before going into print with his first impressions and described it as ‘a future legend’, on a par with past masters such as the NAD 3020 from the 1970s.

‘I was shocked by how good it sounded for the price,’ he raved, pointing out that its performance was usually the preserve of much more expensive designs - air and space around instruments, a sense of ease, a three-dimensional soundstage. The MyDAC gave instruments and voices a fully-fleshed feeling, not the flat cardboard cut-outs so often found in cheap designs. The way it presented images surrounded by a ‘wonderful bloom’ would not be out of place, he felt, in a DAC costing around five times as much.

It would not be unreasonable to expect a slightly grainy sound in a unit of this price - but not a bit of it with the MyDAC: Harley found that timbres were ‘remarkably smooth and free from grain’, while the bass was solid and tight. ‘The Micromega MyDAC offers so much performance, it’s practically free’, he remarked, concluding that it was ‘a stunning bargain.’

If you’re on a budget, of perhaps looking for a great little DAC to go with a second system, the Micromega MyDAC just has to be virtually the mandatory choice. Yes, the French have done it again!

Micromega



Y ou’re looking for a top-rate integrated amplifier, one that’s discreet and won’t take over the listening room. But you’re also interested in playing music files wirelessly from your computer - and you’re on a budget. That means another box to put in the rack, doesn’t it? Not any more, it doesn’t. Micromega, that innovative French company, have now combined all these requirements into one compact unit called the AS-400 Air Dream.

With a healthy 400 Watts per channel into 4 ohms, the AS-400 will tackle just about any loudspeaker and you have the benefit of a phono stage as well as a headphone output at the front.

This device has all the features of the IA-400 integrated and incorporates the airstream module from the Aria Air Dream. Great attention has been paid to isolating the various circuits to give the lowest noise floor. The 25 Mhz master clock features jitter <-100dB at 10Hz deviation from the main band, which is exceptional and guarantees a perfect digital audio stream.

The DAC is completely new, featuring the CS4351 chip from Cirrus, and this is followed by discrete pure Class A Jfet buffers, which present a very light load for the output section of the DAC IC.

Weighing in at 13 kg, this machine is no lightweight and is packed with the most up to date technology to give outstanding performance and superb value for money.

Integrated amplifier with AirStreamAS-400Micromega



Micromega are top of the game when to comes to high quality high value wi-fi music transmission, and they maintain that position with their new Aria Air Dream, recognising the increasing use of computers as part of audiophile systems.

This project is based around Apple’s Airport Express, but its four main section have been totally reworked, with the master clock, DAC and analogue output sections being designed from scratch. Even the elegant aluminium chassis has received attenion in the form of shielding against magnetic fields.

The power supply is housed in two sections, with digital and analogue circuitry separated for maximum noise reduction. Both power units are mechanically decoupled from the frame with rubber isolators to prevent modulation in the circuits from frequency vibrations generated in the processors.

The master clock is made specially for Micromega by a leading manufacturer, and ensures very low jitter. Also new is the DAC, which uses the Cirrus CS4351 chip.

The front panel is backlit with white LEDs for best visibility, with the brightness adjustable to three different levels. The Air Dream has balanced and single-ended outputs, an AES/EBU digital output, and an RJ45 socket for configuration of the airport module.

This is the ideal device for those wanting a neat and effective way to give their music files authentic expression.

Audiophile Wi FI DAC RCA/XLRARIA AirDreamMicromega



Integrated valve amplifer KT88/EL34Prologue Premium

Integrated valve amplifier KT88/EL34

Primaluna

P rima Luna have brought the magic of valve amplification to a wide and appreciative audience over the years, with budget prices allied to impeccable build, finish, and performance. The Prologue Classic is a natural evolution from the much-acclaimed Prologue one and Two, and has some desirable new features.

Depending on personal preference, it is now possible to alternate between EL34 or KT88 power valves by means of a simple switch without having to perform time-consuming and fiddly bias adjustments - just the thing for those who like to listen to different tube characteristics.

By using a special autobiasing circuit the Classic’s performance remains constant throughout the life of the valves, with no risk of imbalance between the output stages. The amplifier is also very well protected with PTP (power transformer protection) and oTP (output power protection). These circuits ensure that the transformers come to no harm in the event of not being properly loaded, such as a speaker being disconnected while the amp is powered up. Another user-friendly feature is a frontplate LED which lights up when there is a possible valve failure.

The Classic is an amplifier that will give years of pleasure and great performance to valve aficionados on a tight budget

Another Prima Luna favourite, the Premium, has also come in for some evolutionary upgrades and features. As with the Classic, the amplifier can be calibrated for EL34 or KT88 valves at the flick of a switch, thanks to the new adapative autobias circuitry - and every Premium can be ordered with either set of valves installed.

New output and power transformers have been fitted, along with new front end circuitry, while home theatre buffs wil appreciate the pass-through option, which gives less noise and colouration at unity gain. A full-function remote is incuded, which controls volume, mute and source selection, as well as functions for the ProLogue Premium CD player.

Although Prima Lunas are powerful amplifiers, the valves run well below the maximum rating, and the Premium incorporates the same protection circuitry of the Classic, including the ‘bad tube indicator’ light on the front panel.

Hand-built with the finest point-to-point wiring, all Prima Lunas are built using premium components and are renowned for their beautiful finish.

Prologue ClassicPrimalun a

E ver since the appearance of that true classic, the Guarneri, Sonus Faber has enjoyed a “special relationship” with the lyre cross-section. It was chosen for three reasons: sonic benefits, aesthetic opportunities and historical importance, the latter addressing the region of Italy where both Sonus Faber and the world’s greatest violins were and are fashioned.

Immediately recognisable, the lyre shape is a look copied by so many inferior rivals that we can only marvel at their chutzpah. With the Venere line, the form has been refined even further, all the better to distance this innovative brand from the lesser wannabes.

Those who require a bookshelf or stand-mounted model will delight in the exquisite Venere 1.5. Sized to fit both, the Venere 1.5 can be acquired with a matching stand that complements the lyre shape. Particular attention was paid to the stand, which features a tempered glass base and adjustable aluminium feet. It was born purely of the Venere family, possessing the core elements of the range’s style, while enhancing the 1.5’s performance though its dedicated functionality: the feet enable the support to be coupled most securely and effectively to the floor, in order to produce sound that is cleaner and more vivid than if used with a non-specific mount.

What the stand supports is a small enclosure enjoying cabinet construction that is an unashamed tribute to Sonus Faber’s flagship model, the Aida. This manner of construction provides a real-world solution to the problem of spurious internal resonance, while producing an aerodynamic profile at the back that prevents any critical sonic conflicts with the wall behind the speaker.

To simplify speaker positioning, Sonus Faber has placed the Venere 1.5’s reflex aperture at the front, this eliminating further any interaction with the surfaces behind the speaker. As Sonus Faber explains, “This enhances the potential of the drivers – one mid-woofer with a Curv™ cone and a 29mm tweeter with silk dome created by DKM – for generating sound that is fresh, fast and always exciting.”

Time delay has been addressed through the employment of a sloping front baffle, featuring curved guides. It ensures perfect timing and an effective “dialogue” between the drivers. However subtle a goal this may seem, it is a quality that encourages an enthralling listening experience.

As the latest in a long line of small two-way monitors, born back in the 1980s, the smallest Venere has a fearsome tradition to uphold. But, like the Sonus Fabers of the past and all of the members of the Venere family, it is blissfully easy to adapt to acceptable placement in a variety of stereo, multi-channel or home theatre environments. And like every model ever to issue from the Sonus Faber factory, it is simply gorgeous.

2 way loudspeaker system

Sonus FaberVenere 1.5



S leek floorstanders are as much a part of Sonus Faber’s repertoire as are the brand’s small, two-way giant killers. Echoing the shape of such illustrious predecessors as the Amati Futura, the new Venere 2.5 is a perfect example of the Italian company’s values, ethos and approach to hi-fi’s toughest juggling act: balancing superlative performance with stunning aesthetics.

Nearly 30 years ago, to broker this seemingly impossible marriage, Sonus Faber had to create a new design language. Neither half of the equation was secondary, with both technical excellence – the hardcore performance element – and physical beauty sharing equal billing in the manner of a Ferrari, a Riva speedboat or a Montegrappa fountain pen.

For the new Venere series, Sonus Faber has developed a “2.5-way” floor-standing speaker suitably called the Venere 2.5. It is, like all of the members in the family, characterised by its lyre shape, and it pays homage to its “mother”, the ground-breaking Aida. The lyre-shaped cabinet was a natural result of the company’s desire to combine structural strength and absolute control of spurious resonance. It was and remains a technique for creating a listening experience that is clear, detailed and authentically dynamic.

To ensure that proper placement of the Venere 2.5 is straightforward, thus eliminating all manner of trial-end-error experimentation, the reflex aperture is mounted at the front. This eliminates most of the issues that emerge as a result of the interplay between a speaker and the wall or surface behind it. Unwanted reflections from the rear wall cease to be a problem.

Fitted with a mid-woofer and a woofer in Curv™ and a silk dome tweeter manufactured by the prestigious German company DKM, the Venere 2.5 has a baffle characterised by curved guides that allow for balanced housing of the drivers. The inclined positioning of the baffle facilitates its positioning in all environments, and always ensures an excellent listening experience.

Providing a contemporary feel to every Venere model is the tempered glass on the base and top, with adjustable aluminium feet providing the stability needed to create a solid and secure energy path between the speaker and its environment. It is yet another manifestation of the way that Sonus Faber employs elegant styling, unexpected materials and artisan execution in a product that inarguably sounds as good as it looks.

It is this observation that makes Sonus Faber a standout among the many hundreds of loudspeaker manufacturers that have come and gone during high-end audio’s first 60 years. The Italians live by the credo of “la bella figure”, and they apply it to everything. Thank goodness the Italians also looked to the reproduction of sound in the home, for now our eyes enjoy the benefits as much as do our ears.

2.5 way loudspeaker system

Sonus FaberVenere 2.5



It was 18 years ago that Sonus Faber revolutionised the concept of standmount loudspeakers when they launched the Guarneri Homage. With its lute-shaped design and a performance that hard-wired into the emotions, it remains a classic to this day. But neither time nor development stand still, and over the years the Guarneri has undergone some changes, firstly in the form of the Memento, in which the original walnut finish

gave way to the high gloss violin red or graphite of the Stradivari - and now, in its ultimate statement, as the Guarneri Evolution.

The original Guarneri was conceived as a tribute to the master violin maker Giuseppe Guarneri del Gesu, but as new developments in driver design and the suppression of resonance became available, the Evolution incarnation has a considerably enhanced performance while retaining the sensual and evocative spirit of the original, as well as the beautiful lute-shaped body, which now has exquisitely machined top and bottom metal plates.

Using technology employed in the Amati Futura and flagship giant The Sonus Faber, the Guarneri Evolution uses a seven-inch mid-bass unit with eddy current-free voice coil. This is a big step for a speaker that has always used a five-inch driver, and results in not only a more extended bass, but better performance all round. The tweeter, too, is different being a 29mm design from Ragnar Lian, co-founder of Scan-Speak.

The performance increase is immediately evident: in his colourful assessment in Hi-Fi News, Ken Kessler described them as ‘miracle workers’ and says that while the original Homage and the later Memento were ‘hardly wimps, this one kicks sand in their faces. And it all starts with the bass’. He goes on to say that the ‘Evolution breaks free from any shackles one might assume would be imposed by its driver or cabinet size. It acts like a much bigger speaker.’

Sonus faber have not only reworked this extraordinary transducer, but they have made considerable improvements to the optional dedicated pedestal, with the company’s Low Vibration Transmission system of mechanical decoupling and their ‘anima legata’ system of two CNC machined surface bound to stainless steel bar. The combination of these innovations helps to elimiante spurious resonances.

With a lustrous appearance that will grace any living room, and a performance to match, what more could one ask?

Standmount 2 way loudspeakerGuarneri Evolution



Sonus Faber

Glorious. Exquisite. Sumptuous. The superlatives trip off the tongue before the first note has been played. Just to behold this most beautiful of loudspeakers is to experience something akin to lust. Many would desire the Amati Futura on looks alone, admiring the contrast between the polished metal top plate and the lustrous high gloss violin red piano finish.

But appearance is not enough: can the performance match the finish? It can and it does, for this design, which owes much of its technology to the company’s mighty flagship The Sonus Faber, has been heralded as one of the finest speakers you can hear. Jason Kennedy waxes lyrical in his review in Hi-Fi Choice’s The Collection: ‘The most musical and effortless loudspeaker we’ve heard in years’, he raves. ‘The transparency is staggering, giving the performers a reach out and touch feel’.

How has this been achieved? Sonus faber have paid great attention to the elimination of spurious resonances, and those who have seen The Sonus Faber will recognise a feature from this giant in the double-layer steel plinth separated by compliant spacers. This is the Low Vibration Transmission system, which reduces the amount of energy transmitted to the floor. The Amati Futura also employs a new type of reflex port, known as the Stealth Reflex System, which is much quieter than conventional rear-firing ports.

Sonus faber have always been mindful of the fact that loudspeakers are always going to be much more welcome in the home if they resemble the finest furniture. The traditional sharp-edged black box has been the cause of many a domestic dispute since the dawn of hi-fi, whereas Sonus fabers - right from the Electa of many years ago - find a much warmer welcome. As the company put it: ‘An acoustic instrument that lives in the environment and becomes part of it, carrying out the functions of both musical source and a beautiful piece of furnishing’.

Featuring Sonus faber’s traditional lute-shaped enclosure formed from carefully selected maple wood, the drivers consist of a 29mm tweeter designed by Ragnar Lian, a 179mm midrange with a cellulose fibre cone and a pair of 220mm woofers with aluminium/magnesium cones - and these have a particularly long excursion. Mundorf capacitors and Jantzen inductors are used in the crossover.

There is no doubt about it: the Amati Futura is the living proof that hi-fi can enhance even the most beautifully furnished room, both with its looks and with its extraordinary performance.

Floorstanding 3.5 way loudspeakerAmati Futura



Sonus Faber

F ew thought that Sonus Faber would be able to follow the limited edition “The Sonus Faber” with another tour de force, and within two years. But they did so, and have stunned everyone with yet another new shape, never seen before in a loudspeaker and likely to be copied in the near future.

With Aida, Sonus Faber has devised a form that still possesses the lyre cross-section that has dominated the brand’s philosophy, but the new look encases the core speaker in a wooden wrap to add depth and detail. It isn’t merely another example of the Italians’ skills with fine woods: when seen in Munich in glossy, primary colours, it emerged as revolutionary as Jolson opening his mouth to signal the end of silent movies.

Aida continues the company’s assault on the extreme high end, which began with The Sonus Faber. Compromise has not been entertained in any manner, as one’s first view of this amazing speaker will reveal. If something as seemingly prosaic as a piece of hi-fi equipment can have sheer, physical “presence”, it is the Aida, with a commanding height of 1725mm and a footprint of 482x780mm. When you are informed of the mass – a hefty 165kg apiece – you begin to appreciate that there is more to the Aida than mere size. It is built with integrity and is as complex as it is imposing.

By endowing the system with relatively high sensitivity, Sonus Faber enabled the Aida to work with favoured amplifiers of less-than-outrageous outputs, while ensuring a flat response from 20-35kHz. To this end, Sonus Faber fitted its familiar “Arrow Point” tweeter, the 180mm XTR-08 midrange, a pair of 220mm lightweight woofers and – for that added slam – a 320mm “infra woofer”. The dynamic capabilities of this system are among the broadest, fastest, most convincing we’ve experienced.

Naturally, the system contains the “hidden” details that made its predecessor so noteworthy, including sophisticated bracing, and the “Sound Field Shaper” with its 29mm tweeter and 120mm midrange to control the direct/reverberant ratio of the Aida. It is a speaker that the owner tailors to the listening room, with the flexibility that almost begs for added care and attention. The rewards are palpable.

As ground-breaking as the styling and the myriad technical innovations may be, the ultimate measure must be the performance. With partnering equipment able to serve a speaker that possesses both the delicacy of a watchmaker’s touch and the ability to convey the impact of a live event, Aida is the sort of component that comes along once a decade. Like the much loved Stradivari, it is a speaker that will transcend its role as part of a sound system. It will become part of your life.

Floorstanding reference loudspeakerAidaSonus Faber



Preamplifier sound processor

Theta DigitalCasablanca III HD



T he Casablanca III HD in one of its standard twelve channels specification, with fully balanced DACs, with 24 bit - 384 kHz resolution is the finest sounding, most flexible preamplifier / processor available today, with proven performance and upgradeability since its original debut 13 years ago and continuing development for future enhancements and options currently capable to handle all HT digital formats. only Theta Digital has

offered such quality and long-term value in this ever-changing product category as the only product ever to fulfill the promise of upgradeability from its conception.

Among other things, the Casablanca III HD has the most extensive speaker configuration capability of any preamplifier / processor made, and can be configured with up to 12 channels of speaker output, for jaw-dropping sound quality in virtually any speaker system in any home allowing customers to configure the unit from 3 different levels of DACs given ultimate level of flexibility in cost and performance.

Each of the 12 input selections provides for individual tailoring of all output parameters such as volume level, delay, crossover and slope. once a given input has been fully configured, those settings can be applied to the remaining inputs, for simplicity of setup.

A Theta Digital exclusive, Centre Spread technology re-allocates the centre channel signal to the front left and right channels incrementally, thereby expanding the ‘collapsed’ image present in some source material. The left and right speakers, often the best in the system, then share the burden of the center channel. The resulting sound is smoother and more articulate - even at low volume, and with less glare on louder passages.

With today’s myriad of video and audio formats, there can be a delay in the output of the video signal from some sources such as satellite tuners and cable boxes, causing the audio and video to be out of sync. The Casablanca III HD addresses this annoying issue by allowing the user to set an overall, or master, audio delay in order to re-sync the audio and the video signals, bringing clarity to the media experience.

Such flexibility and minute control allows each source to be fine-tuned for the given listening environment and owner’s taste, for exacting precision and satisfaction and with the added bonus of a powerful RS232 control the Casablanca HD is easily integrated with home automation systems such as Creston and AMX.

Simply the most powerful , flexible and upgradeable product available in the market with the highest level of audiophile and videophile performance in the home theatre market .

Transparent Reference and oPUS Series cables are the consummate expression of Transparent’s audio cable design process. They have the most demanding specifications and require the most skill and expertise to produce.

Repeated measurements before, during, and after assembly are key to the performance of Transparent’s Reference and oPUS Series Cables. Transparent’s design model dictates the ideal and precise inductance, capacitance, and resistance measurements for each cable. Transparent’s technicians achieve the ideal electrical characteristics for each Reference or oPUS Series Cable they craft by making small adjustments to the cable’s network and by employing special trimming and positioning techniques at the cable’s terminations. The many measurements and consequent network and cable adjustments that take place during the construction process take everything into consideration: the cable’s intended length, its intended termination requirements, and the electrical characteristics of the cable’s associated components.

Even the precise mechanical fit of the cable with each component it links is important to performance because the fit affects the series inductance of the finished cable.

Taking the electrical characteristics of the cable’s associated components into consideration is one of the most critical criteria to Reference and oPUS Series performance because the filter characteristics of each cable behaves differently with different components. The highly specialized networks on Reference and oPUS Cables optimize the cable’s ability to interface ideally with specific components. With the help of Transparent’s design model, Transparent’s technicians can calibrate the most ideal filter network characteristics for a specific type and length of cable for the specific linking components in a customer’s system.

The Transparent design model incorporates the impedance characteristics of a wide range of associated components. If a Reference or oPUS Series customer has a component that has unknown characteristics, for example, Transparent will find out the required information before building that customer’s cable. The design model consists of an intricate interpolation of data that correlates Transparent’s listening criteria with the measured electrical characteristics of cables with properly designed networks in different impedance applications. The model has evolved considerably over the past 15 years as a result of compiling tens of thousands of cable measurements and correlating the measurements with thousands of hours of listening tests.

Incorporating all of these parameters into the manufacturing process means that each Reference or oPUS Series Cable is unique to its application and built one at a time by hand. Reference Series and oPUS cables take longer to build than most other components in your system. Whether you are new to Transparent, or you own an older version or a lower performance level of Transparent, we invite you to experience your music system cabled with Transparent’s best. Transparent Reference, Reference XL, Reference MM, or oPUS will free your system to reveal more of the music on your favorite music sources than you have ever experienced before.

Absolute reference audio cables

Transparent CableReference & Opus series



All three performance levels and all lengths of Transparent HDMI Cables are Certified High Speed HDMI compliant and support uncompressed 1080p 60 Hz video, 3D Video, 4K x 2K resolution, and Deep Color. In addition, all Transparent HDMI Cables transfer data at speeds up to 10.2Gbit/second to support future formats. All also support HD Audio lossless formats. With each performance level, Transparent HDMI

Cables progressively provide better audio and video performance.

Transparent HDMI Cables are unique in their ability to pass accurate digital audio and video signals over long lengths of cable. Most HDMI Cables do not perform well at lengths greater than 3 metres and some will not pass a signal at all at longer lengths. At lengths less than 7 metres, Transparent’s HDMI conductor, shielding, and construction technologies alone insure accurate digital audio and video transmission. At lengths greater than 7 metres, Transparent Active HDMI Network Technology compensates for the specific cable length, maintains high speed performance, and corrects attenuation and skew. Active HDMI Network Technology is available in High Performance and Performance HDMI Cables.

Premium HDMI Cable has been designed to extract the most accurate and satisfying performance possible from all high definition audio and video sources. Transparent Premium HDMI has high silver content conductors to transfer a clean, bright picture with vibrant, lifelike colours and to reveal the full richness and dynamic power of uncompressed high resolution music and movie soundtracks. Maximum length for Premium HDMI is 7 metres. Even if your system requires an HDMI cable longer than 7 metres between the processor and video transducer, using Premium HDMI between the video source and processor will provide a significant upgrade in audio and video performance. For lengths longer than 7 metres, pair Premium HDMI at the source with Transparent High Performance Active HDMI.

Designed for better video playback systems, Transparent High Performance HDMI Video Cables provides a cleaner, brighter picture with more vibrant, lifelike colors and rich, dynamic sound even when you require long cable runs. For lengths between 7 and 20 metres, use Transparent High Performance Active HDMI Cables.

Transparent Performance HDMI Video Cables in your video system will provide a cleaner, brighter picture with more vibrant, lifelike colors and richer, more satisfying sound compared to typical HDMI cables. The smaller size and greater flexibility of Performance HDMI make it an excellent solution for systems set up in smaller cabinets or tight quarters. For lengths between 7 and 15 metres, use Transparent Performance Active HDMI Cables.

Transparent goes to great lengths to give you the best possible video and audio playback for all your high definition audio and video sources regardless of your system needs from 1 to 20 metres at a level of performance unheard of and never seen with typical HDMI cables.

HDMI Cables Premium HDMI • High Performance HDMI • Performance HDMI

Premium HDMI



Transparent Cable

Reference modular loudspeakerAlexandria XLF



Wilson Audio

It was Wilson Audio who put the concept of very large dynamic cabinet loudspeakers on the map when they introduced the X-1 Grand SLAMM nearly 20 years ago. It started a trend which was imitated by many but never equalled, as Dave Wilson’s implementation of materials technology was in a league of its own - and never more so than in his latest creation, the Alexandria XLF.

A measure of the success of his original thinking all those years ago can be seen in the XLF, which is immediately recognisable as having its genesis in the X-1. The Grand SLAMM enjoyed a long run of unparalleled success and went through several generations of upgrading, but a major rethink came in the shape of the majestic Alexandria, which took Wilson’s commitment to explore the limits of excellence to new levels. The XLF expands on this still further - but is not a replacement for the Alexandria, which remains in production alongside its more ambitious partner.

And there is no denying that the XLF is considerably more ambitious: improvements include a 14 per cent greater bass volume, thicker cabinet walls and added bracing for an even more inert enclosure. It also introduces what Wilson term ‘passive bass management technology’, which is unique in the audio world. This is where the letters XLF come in - cross-load firing port technology. In simple terms, there is a port at the front and a port at the rear, and depending upon room characteristics, one is going to be more suitable than the other. For example, some rooms can sound lean in the bass, even with a full-range loudspeaker, and in this case the rear port will be the optimum. The converse is true in other rooms where bass can sound over-full, so this is where the front port is at its best.

But the XLF features other innovations, including a completely revised crossover and the new Convergent Synergy tweeter designed by Wilson Audio as the result of frustration with off-the-shelf units. To match the demands of their standard-setting midrange, Wilson had already redesigned their titanium tweeter with great gains made in lowering the high-frequency noise floor. Their testing quickly revealed that tweeters able to play to 50kHz frequently did so by lowering the mass of their drivers, which causes a series of compromises that are incompatible with Dave’s design imperative of wide dynamic range and very low distortion. None of the new exotic designs matched the dynamic contrast and harmonic expression of Wilson’s existing titanium design.

There is only one form of technology that can determine whether the sound is right or wrong, and that is the human ear - and Dave relies on his ears as the final arbiter. From the time he started building loudspeakers in his garage, he had one motivating passion: to make the reproduction of music sound as much like the real thing as possible. Although he is acutely aware of the limitations imposed on his dream by available driver technology, cabinet materials and the laws of physics, the goal remains the same. In this sense, Dave is an idealist. The history of high-end audio is littered with electronics and loudspeakers that achieve sterling performance on the test bench, and yet, to the ears of even the average listener, lack the ineffable sense of rightness that momentarily suspends disbelief.

Dave is unapologetic about using his ears in the pursuit of his chosen science, because while fidelity of the live event may be difficult to measure, it is not difficult for even the casual listener to hear. But when listening becomes rigorous and disciplined—that is to say, empirical—it can bear even greater benefits. Dave makes an annual pilgrimage to the great concert halls of Europe, particularly Vienna’s Musikverein, as he puts it, ‘to recalibrate his ears’. He spent a great deal of time analysing the Musikverein’s acoustics and then set out to build a new midrange driver that was capable of resolving these subtle time-domain cues. The result was the Wilson midrange driver, first deployed in Alexandria Series 2. Since then, a modified version has been designed into every other Wilson floorstanding loudspeaker, and is included here in the XLF.

The XLF is without doubt the most complex speaker that Wilson Audio has ever produced. The size, the weight, the cost, are simply by-products of Dave’s ongoing quest to bring the listener a step closer to the emotionally unequalled exhilaration of live music.

Reference modular loudspeakerAlexia Wilson Audio



With the WATT/Puppy, Wilson Audio launched perhaps the most successful compact high-performance loudspeaker in audio history, as the thousands of units in use around the world attest. At the same time, Dave Wilson and his engineering team have constantly pushed the absolute boundaries of music reproduction in products like the Alexandria XLF. The musicality of the big Wilson speakers is due in no small

part to their unrivaled ability to time-align the leading edge of waveforms from each driver for any specified listening position and ear height.

The Wilson team knew from the beginning that it would require more than simply separating the tweeter and midrange modules, more than simply putting existing drivers into a larger cabinet.

What it would, in fact, require was a clean-slate approach to the design of the speaker, along with the deployment of new technology. one of the most promising concurrent developments was nascent work on a new Wilson-designed tweeter.

Indeed, the decision was made to put the Alexia project on hold while the Wilson Convergent Synergy Tweeter was readied for its unalloyed debut in the Alexandria XLF. once the transformative qualities of this new driver were clear in the no-holds-barred context of the XLF, Dave Wilson knew a slightly modified version of it was destined for Alexia.

Wilson’s laser vibrometer provided fresh insights into cabinet thickness and internal bracing during the development of XLF’s patented dual bass port. Thus emboldened, Dave and his team recommenced work on Alexia in earnest in the early spring of 2012. For months, the design and engineering teams strove to find the right form factor for Alexia to meet its design objective: not merely a diminutive MAXX nor an enlarged Sasha, but an entirely new thing—a distillation of the highest Wilson ideals of musical realism in a universally sized loudspeaker.

With minor changes, this is the same silk dome tweeter developed for the Alexandria XLF. Unlike many modified off-the-shelf designs, the Wilson Convergent Synergy Tweeter was designed from the ground up to offer the extended bandwidth of many of the new exotic breed of diamond and beryllium tweeters, without the limitations inherent in those designs.

Since its debut in Alexandria Series 2 in 2006, the Wilson Midrange Driver has served music’s most critical bandwidth with its uncanny speed, resolution, and harmonic expression. Modified versions of the midrange driver are found in every post 2006 Wilson loudspeaker, from Alexandria XLF to Sophia Series 3. Alexia sources its version directly from the Alexandria XLF.

Like its larger brethren, Alexia uses two different sized woofers—in this case an 8 inch and a 10 inch driver. Unique to Alexia, the drivers were optimized over an 18 month period to achieve bass extension extraordinary for an enclosure of this size, without sacrificing upper midbass detail or the explosive dynamic speed and contrast that are signature traits of every Wilson loudspeaker.

The final design is at once fresh and familiar—instantly recognizable as part of the Wilson family, yet capable of doing things no speaker of its size has done before.

3 way reference loudspeaker system

Wilson AudioSasha



F or the past 23 years, no product represented the soul and history of Wilson Audio more than the WATT/Puppy. With well over 15,000 units sold since its inception, its place in the pantheon of great audio products is assured. Martin Colloms described the WATT in his

landmark book, High performance loudspeakers, as the perfect enclosure. Its distinctive pyramidal shape has inspired numerous imitators.

The WATT was conceived of necessity. At the time (the early eighties), Dave Wilson was engineering a series of audiophile recordings and he needed an accurate location monitor. Nothing commercially available met his standards, so he decided to design and build his own. The WATT was in instant demand among Dave’s professional peers. once it was combined with a dedicated woofer cabinet (the Puppy), its long reign as audio’s most successful over- £10,000 loudspeaker began.

From 1986, when the WATT was introduced at that year’s Consumer Electronics Show, to 2009, the WATT/Puppy system evolved through seven revisions. New cabinet architecture, new enclosure materials, new drivers, the introduction (with System 6) of Aspherical Group Delay—all of these changes came as Wilson’s loudspeaker technology progressed and found expression throughout the family of Wilson products—from Alexandria to Duette. The WATT/Puppy, as the paterfamilias, was never allowed to languish far behind Wilson’s state-of-the-art.

So why not a System 9? Why a new loudspeaker that embodies the spirit of WATT/Puppy, evokes a similar form factor, but which can no longer simply be called a WATT/Puppy? Why was it time for Sasha?

Throughout its evolution, the WATT was always a self-contained, two-way loudspeaker. It had its own crossover; the WATT always had the capability of being removed from the Puppy and operated on its own. MAXX and Alexandria, meanwhile, were multi-cabinet loudspeakers that integrated drivers through crossover modules mounted in the bass cabinet, a design strategy that has many proven sonic benefits. The WATT/Puppy platform itself became the obstacle to fully leveraging the latest advances in cabinet materials, crossover design, and proprietary driver design. Sasha makes all of those things possible, while maintaining the central position in the Wilson product line held by its illustrious predecessor.

Dave Wilson recently observed that when the original Sophia was launched in 2001, it was inevitably described in the audio press as Wilson Audio’s entry-level floor-standing loudspeaker. While Sophia remains Wilson’s

most affordable floorstander, focusing on price obscures an important fact—price was incidental to Sophia’s actual design objective. What Dave and the Wilson design team set out to create was a loudspeaker that—unlike its siblings at the time, X-1 Grand SLAMM and WATT/ Puppy— was less demanding of rooms and electronics. Sophia was designed to be a product easy to drive, easy to own, and one which invited its owner to just relax into the enjoyment of music.

To emphasize that point, Dave Wilson played a friendly joke on the journalists gathered to hear Sophia at the 2002 CES. The visual evidence in the room led listeners to believe they were hearing the loudspeaker powered by an expensive high-end amplifier. once the reviewers had ample opportunity to revel in the impressive sound, Dave pulled back the curtain to reveal that the speakers were in fact being driven by a modestly priced amplifier.

Sophia’s true magic is that a speaker designed to sound so good with modest electronics can still reveal the nuance and detail of state-of-the-art gear. Sophia’s update to Series 2 in 2005 incorporated many of Wilson’s advances in cabinet materials, anti-jitter crossover technology, and driver design—advances designed to raise the bar on high-end performance in the realms of dynamic contrast, low noise and coloration, and transparency—all the while maintaining the charm and ease of the original.

Impressive sales aside, it is Sophia’s cult status among audiophiles that speaks to the success of the original vision. It is not uncommon for Wilson customers who could easily afford the company’s more expensive loudspeakers to choose Sophia—just because they love the sound.

3 way loudspeaker system

Wilson AudioSophia 3



Mezzo is only the latest product from the Wilson Special Applications Engineering Team™. This group of products recognizes there are situations where the typical floorstanding loudspeaker fails adequately

to meet needs that fall outside the typical listening room/home theatre environments.

Wilson has a long and storied history of developing products for specific applications. The first product to fit that definition was the Wilson Audio Tiny Tot, or WATT®. Long before it became the mid and upper range part of the venerable WATT/Puppy® combo (the best selling over £10k loudspeaker in audio history), it was originally designed as a portable location monitor. The WATT played a significant role in the series of audiophile-quality records Dave engineered in the 1980’s. The WATT’s original heritage was thereafter evident by the machined aluminum handle that traversed the rear blades, a safe and convenient way for Dave to carry the monitor to and from recording locales.

The Mezzo™ was also formulated and engineered with a specific function in mind: a loudspeaker endowed with a nearly identical sonic signature to Wilson’s Sasha W/P®, but in a low-profile package. When used as a centre channel, Mezzo seamlessly matches the acoustic signature of Wilson’s remarkable Sasha. Indeed, the Mezzo features a driver complement nearly identical to the Sasha, the exception being the midrange driver, which is borrowed from the legendary Alexandria X-2®. The Mezzo also provides an unprecedented level of musical accuracy in music systems and home theatres where its low-profile form solves architectural challenges, such as in those installations where a tall loudspeaker would block wall-too-wall cinema screens, the view afforded by large windows, or would obstruct wall-hanging artwork. Whether it is used as a centre channel in conjunction with Sasha, MAXX, or Alexandria, or as a main loudspeaker, Mezzo matches the tonal beauty, dynamic speed, tonal sophistication, resolution, and sense of ‘thereness’ that are hallmarks of Sasha W/P.

Centre channel loudspeaker

Wilson AudioMezzo



2011 CATALOGUE

AUDIO RESEARCH

£


absolute sounds ltd 2012 PRICELIST

LP1 Hybrid Phono Preamplifier , SE-I/o 1990

PH6 Hybrid Phono Preamplifier, Impedance Adjustment, RC, SE-I/o 3298

PH8 Hybrid Phono Preamplifier, Impedance Adjustment, RC, SE-I/o 6398

CD5 CD Player, 24Bit with Philips PRo2m RC, SE-o, Bal-o 5498

DAC8 D/A 24/192kHz convertor 7 Digital inputs, Hi-Res USB audio 4698 SP17 VT Line Stage Preamplifier with Phono Stage, RC, SE-I/o 3249

LS17SE VT Line Stage Preamplifier RC, A-V Loop, RC, SE-I/o, Bal-I/o 3698

LS27 VT Line Stage Preamplifier RC, A-V Loop, SE-I/o, Bal-I/o 6498

VSi60 VT Integrated Amplifier with KT120 (60w stereo), RC, SE-I 3998

VS115 VT Power Amplifier, SE-I/o, 6498

DSPreSS Line Stage Preamplifier, Quad Monoblock D/A 24/192kHz convertor Bit Perfect with upsampling, 5 Digital

inputs/ USB 2.0 Hi-Res, AES/EBU, Spdif, Toslink, RCA,BNC, Toslink, RS232, IR, RC, SE-I/o,Bal-I/o 6998

DSi200 SS Integrated Amplifier (200W Stereo), RC, SE-I/Bal-I 5498

DS225 SS Power Amplifier (225w Stereo) SE-I,Bal-I 4698

DS450 SS Power amplifier (450w Stereo) SE-I,Bal-I 7398

DS450M SS Power Amplifier (450w mono) SE-I,Bal-I each 4698

SE-I/o

AUDIO RESEARCH

£


2012 PRICELISTabsolute sounds ltd

Reference Series

Reference DAC-Media bridgeVT Reference 32 Bit Audio DAC , USB , BNC, Ethernet, Ipod,RC, SE-I/o, Bal-I/o, REF 5 output 13998 Reference Phono 2SeVT Reference Phono Stage Preamplifier, RC, SE-I/o 11450

Reference CD8 VT Reference CD Player, RC, SE-o, Bal-o 8998

Reference 5Se VT Reference Standard Line Stage Preamplifier , RC, SE-I/o, Bal-I/o 11450

Reference 10 VT Reference Standard Line Stage Preamplifier/Separate Power supply , RC, SE-I/o, Bal-I/o 27900

Reference 75 VT Reference Standard Amplifier with KT120 (75 stereo) , Bal-I 8495

Reference 150 VT Reference Standard Amplifier with KT120 (150w stereo) , Bal-I 12495

Reference 250 VT Reference Standard Amplifier with KT120 (250w mono) , Bal-I each 12495

Reference 750 VT Reference Power Amplifier with KT120 (750w mono) , Bal-I PoA

ARTESANIA AUDIO £

ABSOLUTE SOUNDS BRANDING DEVICE BASED ON LOGO PRICE LIST

Esoteric Table 3T3 Tier High-End Audio Support Stand (Including 3 Mass Dampers) 6500

Esoteric Table 4T4 Tier High-End Audio Support Stand (Including 4 Mass Dampers) 6998

Esoteric Table 3TDB3 Tier Double Tandem High-End Audio Support Stand (Including 6 Mass Dampers) 10850 Special Platform for Turntable 3 Layers Dampered Glass Turntable or CD Transport 2300 Mass Dampers optional Rounded Heavy Weight Mass Damper to sit on Top of Equipment each 490



CONSTELLATION AUDIO £

Performance series

Virgo Preamplifier SS Line Stage Preamplifier , RC, SE-I/o, Bal-I/o 19000

Perseus Phono PreamplifierSS phono stage MC adjustable 0 ohm to 500ohm. MM impedance and load capacitance

adjustable Bal-I/o SE-I/o TBA

Cygnus DAC Server SS Digital file player/DAC; AES/EBU, two SPDIF coax, Two TosLink optical, USB , separate PS TBA Centaur StereoSS Power amplifier (250w Stereo) Bal-I,-SE-I 24000

Centaur mono SS Power amplifier (500w mono) Bal-I, SE-I 24000

Reference series

Altair PreamplifierSS Line stage preamplifier fully balanced with separate power supply RC, SE-I/o, Bal-I/o PoA

Hercules MonoSS Power amplifier (500w mono) Bal-I, SE-I each PoA



absolute sounds ltd 2012 PRICELISTstudio line

CONTINUUM AUDIO LABS £

Caliburn SystemThe award winning caliburn-cobra-castellon analogue playback system represents what is possible when science, engineering and art are harnessed to create the ultimate analogue information retrieval mechanism. Through the use of state-of-the-art fea software and shape optimisation, continuum audio labs have established a new musical reference. The caliburn is a suspensionless turntable which uses a unique magnesium alloy chassis. The caliburn motor uses the most advanced technology currently available and is true zero cogging. It uses a battery powered dc motor and utilizes vacuum hold down. The caliburn has a hydrostatic bearing where oil provides the interface between bearing surfaces for ultra-low friction and high damping. The nested platter design of the caliburn allows for superior isolation from external and internal resonant modes of vibration that have been shown by fea modelling to be at the surface of the platter in the critical area adjacent to the record. Speeds (adjustable): 33.33, 45, 78 Rpm. The castellon stand is a magnetic-pneumatic isolated top shelf and two shelves and a drawer.Chromed uprights of aircraft-grade aluminum are used throughout and side supports are reinforced with nautical turnbuckles. PoA

Cobra TonearmDual-pivot tonearm with monocoque construction. Composite material using a mixture of resin impregnated fibre and tubules woven onto an “aerocell” core. Accepts standard cartridge centers of 12.7Mm and 14mm long slot allows for correct overhang adjustment of any currently available cartridge. Vta adjustment – on the fly, azimuth and antiskate are also adjustable. Cartridge weight range: 0–20gm. 18900

Criterion SystemThe criterion-copperhead embodies the considerable engineering capability of continuum audio labs and maintains the ability to transform the humble vinyl lp into something truly magical. 58000

CriterionThe criterion incorporates a 30 kg nested platter design using our new proprietary formula for magnesium alloy. A new milspec alloy is used for highly damped platter ballast. The criterion has a new fully sealed self lubricating highly damped rigid bearing design with inverted 30mm bearing shaft of special alloy running in ultra hard steel bushings. It has massive highly damped magnesium alloy chassis with internal ribbing, which is shape optimised using reshape (tm) software. The criterion uses a new linear 3phase ac - 24volt dc brushless design motor with an integral optical encoder for motion control. Proprietary dsp software designed for ultra-low cogging and torque ripple with speed stability of 0.006%. 33, 45, 78 With wide range adjustment and absolute lock. New vacuum pump design with stealth mode operation. Designed for continuous operation but quiet enough to house in room and in rack. New proprietary design pulse removal and echo filter system (prefs) to remove platter to record vibration signature of continuous vacuum pump systems. New decoupled armboard design using magnetic stabilisation system (new lower cost derivative of the caliburn armboard system) 53500

CopperheadThe copperhead wand is a reshape (tm), shape optimised resonance tuned compound curve wand from proprietary woven fibre technology pioneered by continuum audio laboratories. It has unique azimuth stabilised bearing system (also found in th3 cobra tonearm system) which is adjustable. A precision graduated radial vta vernier gauge that allows for repeat vta setting accurate to 1 arc minute (360 degree graduation). Cartridge weight range: 0-20grams 6250


2012 PRICELISTabsolute sounds ltd studio line

COPLAND

£

DRC 205 Digital Room Correction system 2198

CDA 825 Top Loader CD Player 24bit/192khz with multiple Dacs, Bal-o, SE-o 4298

CTA 305 VT Preamplifier with Phono Input, RC, SE-I/o 2398 CVA 306 ¤ VT Multi Channel Preamplifier, RC 2998

CTA 405 VT Integrated Amplifier (50w stereo) SE-l 2998

CTA 506VT Amplfier with KT120, (90w Stereo) SE-I, Bal-I 4498



CRYSTAL CABLE £

Arabesque Mini Stand-mount Loudspeaker System in Aluminium 12000

Arabesque Stand for Mini Dedicated stand for above 2750

Arabesque III Floor-standing Loudspeaker System in Aluminium, Available in Black and Silver 35000 Arabesque GlassFloor-standing Loudspeaker System in Special Custom Dampered Glass PoA

Crystal Cables and accesories full price listing available from [email protected]



DAN D’AGOSTINO £

Momentum Mono CS SS Power amplifier (300w mono) Bal-I Copper/Silver each 22000

Momentum Mono CB SS Power amplifier (300w mono) Bal-I Copper/Black each 24900

Momentum Stereo CSSS Power amplifier (175w Stereo) Bal-I Copper/Silver 22000

Momentum Stereo CBSS Power amplifier (175w Stereo) Bal-I Copper/Silver 24900

Momentum Super Analogue CS SS Preamplifier Bal-I Copper/Silver 30000

Momentum Super Analogue CB SS Preamplifier Bal-I Copper/Black 32000

Momentum Floor stand S Amplifier support Silver each 1500

Momentum Floor Stand B Amplifer support Black each 1750



absolute sounds ltd 2012 PRICELIST

DARTZEEL £




CTH-8550 SS Integrated Amplifier (220W Stereo), RC, SE-I/Bal-I 17502

CTH-8550 MC Phono Moving Coil option for CTH-8550 Factory Fitted 1000

CTH-8550 MM Phono Moving Magnet option for CTH-8550 Factory Fitted 680

NHB-18NS SS Preamplifier including phono stage with battery power supply, RC, Bal-I/o,SE-I/o,DTZ-o 25000

NHB-108B Power Amplifier (100w stereo) Bal-I, SE-I,DTZ-IN 21950

NHB-458 Reference Standard Amplifiers (400w mono), Bal-I, SE-I,DTZ-IN each PoA

studio line

DARTZEEL £




TZeel Interconnects

DtZ-L0.6 0.6 Metre Stereo set DarTZeel Link Cable 490

DtZ-L01 1 Metre Stereo set DarTZeel Link Cable 750

DtZ-L1.5 1.5 Metres Stereo set DarTZeel Link Cable 850

DtZ-L3 3 Metres Stereo set DarTZeel Link Cable 1450



DTZ-L8 8 Metres Stereo set DarTZeel Link Cable 3650

DtZ-L10 10 Metres Stero set DarTZeel Link Cable 3990

DtZ-T BNC T Connector each 82

studio line

DEVIALET®

£


D-Premier Hybrid Class AD integrated Amplifer/ DAC 192Khz with Wi Fi Compatible, Configurable inputs (260w stereo), Remote Included 10498

Stand Show Vertical Display Stand for D-Premier 599

Wall mounting frame Vertical Fixing Display Stand for D-Premier 599



EAT

£




YosegiMoving Coil Cartridge 1550

ColibriMoving Coil Cartridge with Teflon body 5700

EAT 31212” Tonearm 2450

EAT IKEDA 407Hand built Limited Production12” Tonearm 6900

E-FlatEAT Turntable including Flat Carbon Tonearm 4100

E-Flat - YosegiEAT Turntable including Flat Carbon Tonearm and Yosegi moving coil cartridge 5490

Forte S SPBForte S Turntable Piano Black without Tonearm 4450

Forte S - SM Forte S Turntable Makassar without Tonearm 4790

Forte S Turntable Forte S Turntable Piano Black with Project Evo 12’’ Tonearm 5300

Forte S Turntable Forte S Turntable Makassar with Project Evo 12’’ Tonearm 5900

Forte Turntable SPBForte Turntable Piano Black without Tonearm 6900

Forte Turntable SMForte Turntable Makassar without Tonearm 7500

Forte Turntable - Ikeda PB Heavy Mass, Piano Black Belt driven turntable with Ikeda 407 12” Tonearm 12900 Forte Turntable - Ikeda ZHeavy Mass, Zebrano Belt driven turntable with Ikeda 407 12” Tonearm 12900 Forte Turntable - Ikeda HGMHeavy Mass, High Gloss Makassar Belt driven turntable with Ikeda 407 12” Tonearm 13500

Ortofon or SME Tonearm Base for Forte and Forte ‘S’ 429

pistol line




Cool Damper Multifunctional valve ring compatible with 12AT7, 12AU7, 12AX7, 6DJ8, EL84 etc each 20 ECC803S Selected High quality valve compatible with ECC83/12AX7 includes Cool Damper each 95 ECC803S Diamond High quality valve compatible with ECC83/12AX7 includes Cool Damper each 145

ECC88 Selected High quality valve compatible with ECC88/6DJ8/6922 includes Cool Damper each 95 ECC88 Diamond High quality valve compatible with ECC88/6DJ8/6922 includes Cool Damper each 145 KT88 Diamond Single hand made KT88 Valve with Carbon Anode and Gold Pins each 260

KT88 MP Matched pair of hand made KT88 valves with Carbon Anode and Gold Pins 500

KT88 MQ Matched quartet of hand made KT88 valves with Carbon Anode and Gold Pins 1200 300B Single hand made 300B valve 400

EAT LP Luxury wooden pack for EAT valves 87

EAT CDLP Luxury wooden pack for EAT cool damper, (fits 6 - 12 cool dampers) 50

pistol line

EAT

£

JADIS £


I-35 VT Pure Class A Integrated Amplifier (35w stereo) with KT120 5500

Orchestra Ref Amp VT Integrated Amplifier (40w stereo) with KT90 2998

DA88 Signature VT Pure Class A Integrated Amplifier with KT88 (60w stereo) 10450

DPMC VT MC Phono Preamplifier 4500

JP15 VT Preamplifier Line Stage 3999

JPL VT Preamplifier Line Stage 6200

JPS2 VT Preamplifier Line Stage and separate power supply 11000 JPS3 VT Phono Preamplifier 11300

JP80MC VT Preamplifier with MC Phono Stage and separate power supply 16900

JP200MC VT Preamplifier with MC Phono stage and separate power supply 27450

DA7 VT Amplifier (100w stereo) 8500

JA15VT Amplifier (40w mono) with KT90 Valves each 1850

JA30 VT Amplifier (30w mono) Pure Class A each 4444

JA50 VT Amplifier (30w mono) Pure Class A with KT90 Valves each 4750

JA80 VT Amplifier (60w mono) Pure Class A each 7900





JA200 VT Amplifier (160w mono) Pure Class A (2 blocks per channel) each 11950

JA250 VT Amplifier (160w mono) Pure Class A (2 blocks per channel)with KT90 each13000

JA500 VT Amplifier (350w mono) Pure Class A (2 blocks per channel) each 17000

Reference Series

JA800 VT Amplifier (800w mono) Pure Class A (2 blocks per channel) each PoA

JP800 VT Preamplifier and separate power supply PoA

SE845 VT Amplifier SE Triode Class A each 9000

SE845 Nec VT ampliifier Double SE Triode Class A 40w SE-I each 11500

SE300B VT Amplifier SE Triode Class A 10w mono SE-I each 5500

Jadis Anniversary Limited Edition of 100 Sets(Priced for 2x JA80 Gold and 1x JP80MC Gold) 39000

JP80 MC Gold VT Preamplifier with MC Phono Stage and separate power supply

JA80 Gold VT Amplifier (80w mono) Pure Class A

JADIS £



KOETSU £

MCR-1Moving coil step up transformer specific for all koetsu cartridges 3598

Black K Anodised black aluminium copper coiled moving coil cartridge with samarium cobalt magnet 1888

Red T Natural rosewood copper coiled moving coil cartridge with samarium cobalt magnet 2222

Red K signature Rosewood with clear lacquer copper coiled moving coil cartridge with samarium cobalt magnet 3498

Urushi Black Rosewood w Urushi lacquer moving coil cartridge silver plated copper coiled w samarium cobalt magnet 4098

Urushi Sky Blue Rosewood w Urushi lacquer moving coil cartridge silver plated copper coiled w samarium cobalt magnet 4098

Urushi Gold Rosewood w Urushi lacquer moving coil cartridge silver plated copper coiled w samarium cobalt magnet 4098

Urushi Tsugaru Rosewood w Urushi lacquer moving coil cartridge silver plated copper coiled w samarium cobalt magnet 4098

Urushi Vermillion Rosewood w Urushi lacquer moving coil cartridge double coiled silver plated copper coiled w samarium cobalt magnet 4098

Urushi Wagima Rosewood w Urushi lacquer moving coil cartridge silver plated copper coiled w samarium cobalt magnet 4098



KOETSU £


Platinum series

The Signature Rosewood body with clear lacquer moving coil cartridge silver plated copper coiled with platinum magnet 5300

Azule Dumortierite body moving coil cartridge silver plated copper coiled with platinum magnet 7400

Blood StoneBlood stone body moving coil cartridge silver plated copper coiled with platinum magnet 7400

Blue Onyx Blue onyx body moving coil cartridge silver plated copper coiled with platinum magnet 7400

Burma Jade Burma jade body moving coil cartridge silver plated copper coiled with platinum magnet 7400

Coral Coral stone body moving coil cartridge silver plated copper coiled with platinum magnet 7400

Jade Green jade body moving coil cartridge silver plated copper coiled with platinum magnet 7400

Tiger Eye Tiger eye body moving coil cartridge silver plated copper coiled with platinum magnet 7400

Diamond cantilever Diamond cantilever supplement for platinum series 3666



KRELL £

KID ipod Transport Bal-o, SE-o excluding ipod 2222

PAPA DOCK Integrated Amplifier slot for Kid (2x150w) 3333

S-350a CD player with digital audio input 2795

S-350av CD/DVD player with digital audio input and 1080p HDMI output 4200

S-300i SS Integrated Amplifier (150w stereo) RC, Bal-I, SE-I Ipod connectivity 2795

S-550i SS Integrated Amplifier (275w stereo) RC, Bal-I, SE-I Ipod connectivity 4998

S-1200 ¤ Sound Processor w Dolby Digital EX & HD, AC3 & Prologic I I, DTS Master, EX & Eon 6.0,

THX Ultra HDMI 1.4, Bal-I/o, SE-I/o 10998

S-1200 3D ¤ Sound Processor w Dolby Digital EX & HD, AC3 & Prologic II, DTS Master, EX & Eon 6.0,

THX Ultra HDMI 1.4 w 3D, Bal-I/o, SE-I/o 12998

S-1200u ¤ Sound Processor w Dolby Digital EX & HD, AC3 & Prologic II, DTS Master, EX & Eon 6.0,

THX Ultra, HDMI 1.4 w 1080P upscaler Bal-I/o, SE-I/o 13498

S-1200u 3D ¤ Sound Processor w Dolby Digital EX & HD, AC3 & Prologic II, DTS Master, EX & Eon 6.0,

THX Ultra, HDMI 1.3 / 3D w 1080P upscaler Bal-I/o, SE-I/o 13998

S-1500 3 ¤ SS Audio Video Amplifier (3x175w) Bal-I, SE-I 5900



S-1500 6 ¤ Audio Video Amplifier (6x150w) Bal-I, SE-I 7550

S-1500 7 ¤ Audio Video Amplifier (7x150w) Bal-I, SE-I 8100



KRELL

£KPE Reference External Reference Phono Stage MC/MM. Needs external power supply 1990

KPE Power Supply Power Supply KPE and KPE Reference (not required for KCT) 850

Evolution Series

CIPHER CD/SACD Player * Bal-o, SE-o 12000

525T CD Transport compatible with High Quality DAC’s 9997

525A CD Player Audio only with Multichannel, Cast II * Bal-o, SE-o 12000

525V CD/DVD Transport, Cast II * Bal-o, SE-o 12000

525AV ¤ CD//DVD Multiplayer w Multichannel, Cast II * Bal-o, SE-o 14000

Phantom IIIPreamplifier Cast II * Bal-I/o, SE-I/o , headphone Jack 5000

Phantom III W dacPreamplifier Cast II * Bal-I/o, SE-I/o with DAC (AES/EBU. coax, optical) headphone Jack 6000

Phantom IIPreamplifier Cast II * Bal-I/o, SE-I/o 11998

Phantom Preamplifier with separate power supply, Cast II * Bal-I/o, SE-I/o 16950

707 ¤ Sound Processor with Dolby Digital EX AC3 and Prologic II, DTS Master, Dolby Digital HD, ES,EX & Eon 6.0, THX Ultra, HDMI 1.4 & up video conversion Cast II * Bal-I/o, SE-I/o 32998

707 3D ¤ Sound Processor with Dolby Digital EX AC3 and Prologic II, DTS Master, Dolby Digital HD, ES,EX & Eon 6.0, THX Ultra, HDMI1.4/3D & up video conversion Cast II * Bal-I/o, SE-I/o 34998



KRELL £


2012 PRICELISTabsolute sounds ltd studio line

2250E SS Amplifier (250w/ch Stereo),eco friendly operation 7998

3250E ¤ SS Amplifier (250w/ch 3channel), eco friendly operation 9998

302E SS Amplifier (300w Stereo) Cast II * Bal-I, SE-I 12900

402E SS Amplifier (400w stereo) Cast II * Bal-I, SE-I 18500

403E ¤ SS Amplifier (3X400w) Cast II * Bal-I, SE-I 24950

400ESS Amplifier (400w mono) Cast II * Bal-I, SE-I each 12000

600E SS Amplifier (600w mono) Cast II * Bal-I, SE-I each 18500

900E SS Amplifier (900w mono) Cast II * Bal-I, SE-I each 25000

Reference Series

Evolution One Ultra High Bandwidth Amplifier (450w mono) Cast II * Bal-I, SE-I PoA

Evolution Two Ultra High Bandwidth Dual Mono Preamplifier Cast II * Bal-I/o, SE-I/o PoA

Modulari Duo3 Way Modular Floor Standing Loudspeaker System PoA

Modulari Primo2 Way Monitor Alumium Enclosure PoA

MRS Sub Woofer, Master Reference, Self Powered * Cast System PoA

MAGICO £S1Floor standing, 2 Way Aluminium Loudspeaker System with proprietry Nano-Tec® drivers 12900

S5Floor standing, 3 Way Aluminium Loudspeaker System with proprietry Nano-Tec®drivers 28900

Q1Stand Mount, 2 Way Aluminium Loudspeaker System with proprietry Nano-Tec® drivers including High Mass Aluminium Stand 28500

Q3Floor standing, 3.5 Way Aluminium Loudspeaker System with proprietry Nano-Tec® drivers 39995Q5 4-way acoustic suspension, 5-driver floorstanding, loudspeaker with proprietary Nano-Tec® woofers and midranges and ESXo crossover featuring fully braced, fully damped aluminium and brass hard anodized enclosure. PoA

Q7 4-way acoustic suspension, 5-driver floorstanding, loudspeaker with proprietary Nano-Tec® woofers and midranges and ESXo crossover all with wide bandwidth up to 50Khz and 95db sensitivity, featuring fully braced, fully damped aluminium and brass hard anodized enclosure. PoA

Ultimate 2 Custom Built Aluminium Ultra High Efficiency Five-Way Horn-Loaded Dynamic Loudspeaker System PoA

Qpods 3Set of 3 Qpods under unit supprt feet 1600

Qpods 4Set of 4 Qpods under unit support feet 2000


2012 PRICELISTabsolute sounds ltd Studio line

Natural Cherry Dark Cherry Rotary Cut BubingaBirds Eye Maple Black Ash Maple Zebra Wood Flamed Teak Black Cherrywood

Piano BlackBlack Ash High-Gloss Black CherrywoodHigh-Gloss White

Optional Finishes when not Standard

MARTIN LOGANESL Series £Electromotion™ Hybrid Electrostatic Loudspeaker, Black 2499 Electromotion™ HGB Hybrid Electrostatic Loudspeaker, High Gloss Black 2998

Theos™ Hybrid Electrostatic Loudspeaker

Standard Finish: Black Alloy with Black Ash, Dark Cherry, Zebra wood 4900

Ethos™ Hybrid Electrostatic Loudspeaker with self powered bass

Standard Finish: Black Alloy with Black Ash, Dark Cherry, Flamed Teak 6698

Montis™ DBDZ Hybrid Electrostatic Loudspeakers with self powered bass

Standard Finish: Black Alloy / Black Ash, Dark Cherry, Zebrawood 9800

Montis™ HG Hybrid Electrostatic Loudspeakers with self powered bass

Standard Finish:High Gloss black or white frame/Gloss Black Ash, Gloss Dark Cherry, Gloss Zebrawood 12900

Summit™ X DMNBD Hybrid Electrostatic Loudspeaker with self powered bass

Standard Finish: Black Alloy / Black Ash, Dark or Natural Cherry & Maple 14998

Summit™ X HG Hybrid Electrostatic Loudspeaker with self powered bass

Standard Finish:High Gloss blackor white frame/Gloss Black Ash, Gloss Dark Cherry, Gloss Maple 15998

CLX™ AnniversaryFull Range Electrostatic 25th Anniversary LTD Edition w Alloy Frame 23500 CLX™ Art Full Range Electrostatic curve frame in Aniline Dye 24998Standard Finish Black Ash, Natural & Dark Cherry, Maple



MARTIN LOGAN £

Stage X™ BD ¤ on wall hybrid/off Wall Center Stand/Mount incl. Hybrid Electrostatic Loudspeaker, Folded Motion™ tweeter Std Finish: Black Alloy with Black Ash Dark Cherry each 3298 Stage™ X MN ¤ on wall hybrid/off Wall Center Stand/Mount incl. Hybrid Electrostatic Loudspeaker, Folded Motion™ tweeter Std Finish: Maple Natural Cherry each 3298

Motif™ X ¤ on-Wall/off-Wall Centre, Stand/Mount Included, Black Ash, Dark Cherry 1695

Headphones

Mikros™70In-ear headphones with Remote and Microphone 149

Motion™ Series

Motion™152 Way Loudspeaker System, Folded Motion™tweeter, Black White Dark Cherry wood Gloss 795

EFX™¤on-Wall Surround, Black 2998

Motion SLM™¤ Flat on wall/off wall Center/Front/Surround each 498

Motion™6 ¤on-Wall/off-Wall Surround High gloss black each 299

Motion™ FX ¤on-Wall/off-Wall Surround, Black/White each 399

ElectroMotion™ FX2 ¤ on-Wall/off-Wall Surround, Suitable match for ESL Series, Black each 645

ElectroMotion™ C2 ¤ off-Wall Center, match for ESL Series Black each 790



Motion™15

Center Channel Speakers

MARTIN LOGANSubwoofer SeriesDynamo™ 500 ¤ Active subwoofer (120w-360w peak), Black Ash each 498 Dynamo™700W ¤Active subwoofer wi-fi compatible (300w-600w peak), Black

SWT-2 Transmitter included, not compatible with SWT-1 each 698

Dynamo™1000W ¤ Active subwoofer wi-fi compatible (500w-1000w peak), Black SWT-2 Transmitter included, not compatible with SWT-1 each 998

Grotto™i ¤ Active Subwoofer (250w), Black Ash ` 1390

Depth™ i ¤ Active subwoofer (300w), Black Ash, Natural Cherry, Dark Cherry, Maple 1990

Descent™ i ¤ Active Subwoofer (400w) Black Ash, Natural Cherry, Dark Cherry, Maple 2998

Architecture and Custom Installation

Edge™ ¤High performnace In-Wall loudspeaker Metal grill, Paintable White L,R,C each 1599

Vanquish™ ¤Aimable In-Wall loudspeaker Metal grill, Paintable White L,R,C each 1298

Axis™ ¤In-Wall loudspeaker Metal grill, Paintable White L,R,C each 1098

Electromotion™R¤High resolution Aimable In-Ceiling loudspeaker Metal grill, Paintable White each 548

Electomotion™IC ¤High resolution Aimable In-Ceiling loudspeaker Metal grill, Paintable White each 429

Electromotion™IW¤High Resolution in-ceiling Loudspeaker each 449



METRONOME TECHNOLOGIE £

CD Eight Signature XLR USB Top loaded CD Player 24bit/ 192khz CDM12 PRo mechanism with enhanced motor spindleDigital-up sampler on the D/A stage, RCA digital outputs and XLR, Input USB 7950

CD Eight Signature Tube USBTop loaded CD Player 24bit/ 192khz CDM12 PRo mechanism with enhanced motor spindle

Digital-up sampler on the D/A stage, RCA digital outputs, Input USB tube output 8950

T3A SignatureTop loaded CD transport CDM12 PRo 2 V6.8 mechanism, RCA S/PDIF, XLR AES/EBU, AT&T oPTICAL 8800

Kalista Integrated Integrated CD player with CDM12 PRo mechanism with Integrated D2A Convertor and one single External Power supply 38000

Calypso CD transport with CDM12 PRo mechanism w enhanced motor spindle, Switchable Digital up-sampler AES/EBU XLR, ATT fiber glass and S/PDIFRCA digital outputs, integrated standard power supply 19500

Calypso reference CD transport same as above with Elektra Power supply, Silent base support 40mm thickness/Transparent Helmet 29000Kalista Ultimate SEWorldwide Limited Production of 100 CD transport with improved silent base suppport and Custom legged Stand,CDM12 PRo mechanism with enhanced motor spindle, Switchable Digital up-sampler AES/EBU,AT&T and RCA, Digital outputs, with Elektra Power supply PoA

C5 ConverterDAC, digital up-sampler on the D/A stage, 24bit/192kHz 2 converters, tube output stage, phase inverter, AES/

EBU XLR, ATT, and asyncronus. USB high resolution digital inputs 7590

C8 ConverterDAC, digital up-sampler on the D/A stage, 24bit/192kHz 4 converters, solid state and tube output stage, phase inverter, AES/EBU XLR, S/PDIF RCA, Toslink and asynchronous USB high resolution digital inputs. Indepenent Elektra power supply 16900



MICROMEGA HD £



MyDACDac 24/192Khz, A-Synchronous High res on all inputs spdif/optical/USB 259

E-PureHeavy mass brass platter belt driven turntable including 12” Da Vinci tonearm PoA

WM10 Wireless DAC, fully compatible with itunes and others 1098

ARIA Airstream Wireless reference DAC, fully compatibile itunes and others 3600

CD10 CD Player 888

CD20 CD Player 1222

CD30 CD Player 1598

IA60 Integrated Class D Amplifier (60w stereo) RC, SE-I 945



IA400 Integrated Class D Amplifier (400w stereo) RC, SE-I 2797 AS400Integrated Class D Amplifier (400w stereo) w Airstream RC, SE-I 3898

PA20 Preamplifier Bal-o, SE-o 1290

AP180 ¤ Multichannel AV Processor / Class D Amplifier (3x180w) SE-I 1698 PW250 Class D Amplifier (250w Stereo) Bal-I, SE-I 1698

PW400 Class D Amplifier (400w Stereo) Bal-I, SE-I 1998

FM10 FM Tuner 698

PRIMALUNA £



Prologue 1 VT Integrated valve amplifier 35 Watts stereo, with EL34 valves, auto bias circuit 1390

Prologue 2 VT Integrated valve amplifier 40 Watts stereo, with KT88 valves, auto bias circuit 1690

Prologue 3 VT Dual mono stereo valve preamplifier, four inputs, excluding phono 1550

Prologue 4 VT Stereo valve amplifier 35 Watts stereo, with EL34 valves 1190

Prologue 5 VT Stereo valve amplifier 40 Watts stereo, with KT88 valves 1500

Prologue 6 VT Mono valve amplifier 70 Watts , with EL34 valves each 1190

Prologue 7 VT Mono valve amplifier 70 Watts, with KT88 valves each 1500

Prologue 8 VT Valve CD Player - including remote and super I/V opampboard 2500 Prologue Classic Integrated amplifier EL34 - no remote 1750

Prologue Classic Integrated amplifier KT88 - no remote 2050

Prologue Classic CD CD Player including remote and Super I/V opamp board 3000 Prologue Premium Integrated 34 VT Integrated valve amplifier 35 Watts stereo, with EL34 valves, auto bias circuit 2300

Prologue Premium Integrated 88 VT Integrated valve amplifier 40 Watts stereo, with KT88 valves, auto bias circuit 2600 Prologue Premium Preamplifier VT Preamplifier including remote 2150

Prologue Premium Stereo amplifier 34 VT Stereo valve amplifier 35 Watts stereo, with EL34 valves, auto bias circuit 2300

Prologue Premium Stereo amplifier 88 VT Stereo valve amplifier 36 Watts stereo, with KT 88 valves, auto bias circuit 2600

pistol line

PRIMALUNA £



Prologue Premium Mono amplifier 34 VT Mono valve amplifier 70 Watts , with EL34 valves each 2150

Prologue Premium Mono ampifier 88 VT Mono valve amplifier 70 Watts , with KT88 valves each 2450

Prologue Premium CDVT CD Player including remote & Super I/V opampboard 3750

Dialogue 1 VT Integrated Amplifier 36 Watts stereo, with EL34 valves, auto bias circuit 2500

Dialogue 2 VT Integrated Amplifier 36 Watts stereo KT88 - including remote 2950

Dialogue 3 VT Dual Mono Preamplifier 36 Watts stereo, with EL34 valves, auto bias circuit 2400

Dialogue 5 VT Stereo Amplifier 42 Watts stereo, with KT88 valves, auto bias circuit 2750

Dialogue 7 VT Mono Amplifier 70 Watts stereo, with KT88 valves, auto bias circuit each 2700

Dialogue 8 CD VT CD Player including remote & Super I/V opampboard TBA

Mystere IA21 VT Integrated Amplifier 50 Watts stereo, with KT88 valves, auto bias circuit, EL34 Compatible 2442

pistol line

SONUS FABER £Toy Leather 2 Way Loudspeaker System, Leather Barred/Classic, Bookshelf Mount 575

Toy Euro 2 Way Loudspeaker System, Piano Black/White/Walnut, Bookshelf Mount 750

Toy Tower L 3 Way Loudspeaker System, Leather Barred/Classic, Floorstanding 1395

Toy Tower E 3 Way Loudspeaker System, Piano Black/White/Walnut, Floorstanding 1850

Toy Center ¤ 2 Way Loudspeaker System, Leather Barred/Classic Center Channel 550

Minima Vintage 2 Way Loudspeaker System, Walnut Finish 2398

Ironwood Adjustable Iron and wood based stand for the above 480

Venere series

Venere 1.52 Way Loudspeaker System Black Piano Gloss, White Piano Gloss Standmount 899 Venere Stand Stand for the above 499

Venere 2.52.5 Way Loudspeaker System Black Piano, White Piano Gloss 1998

Venere Centre ¤ Center Surround Loudspeaker Black Piano Gloss White piano Gloss each 599

Cremona Series

Cremona Auditor Elipsa 2 Way Loudspeaker System Maple Wood or Slate Grey, Standmount 3290

Cremona Auditor M 2 Way Loudspeaker System Maple Wood or Slate Grey, Standmount 3290

Cremona Auditor M standDedicated Stand for Cremona Auditor M 750

Cremona M 3 Way Loudspeaker System Maple Wood/Slate Grey Floorstanding 6945



SONUS FABER £Cremona Elipsa 3 Way Loudspeaker Maple Wood/Slate Grey, Floorstanding 14250

Cremona Elipsa Red 3 Way Loudspeaker System, Violin Red, Floorstanding PoA

Cremona Centre M ¤ 2 Way Loudspeaker System, Center channel, Maple Wood or Slate Grey 3200

Cremona Centre M Stand ¤ Dedicated Stand for Cremona Centre M 445

Cremona Sub M ¤ Active Subwoofer (320w) 3150

Homage CollectionGuarneri Memento VR Reference 2 Way Acoustic Monitor, Including Pedestal Violin Red 8498

Guarneri Memento GR Reference 2 Way Acoustic Monitor, Including Pedestal Graphite 9098

Amati Anniversario VR Reference 3 Way Acoustic Floor Standing Loudspeaker Violin Red 16998

Amati Anniversario GR Reference 3 Way Acoustic Floor Standing Loudspeaker Graphite 17998

Stradivari Homage VR Reference 3 Way Acoustic Floor Standing Loudspeaker Violin Red 27998

Stradivari Homage GR Reference 3 Way Acoustic Floor Standing Loudspeaker Graphite 29998

Guarneri Evolution Reference 2 Way Loudspeaker system Graphite or Violin Red no Pedestal 9988

Guarneri Evolution Pedestal Stand for Guarneri Evolution 2852

Guarneri Evolution with Stand Reference 2 Way Loudspeaker Graphite or Violin Red Including Pedestal 12490

Amati Futura Reference 3 Way Loudspeaker system Graphite or Violin Red 20998

Aida 3.5 way Reference Standard Loudspeakers system Violin Red or Gloss white PoA



THETA DIGITAL £Compli blu ¤ Blu-Ray CD Universal Transport including RS232 3222

Pro Gen VIII Series 2A Preamplifier/D-A Convertor, RC 24/96 SE-I/o, Bal-I/o 18900

Casablanca III Chassis ¤ Music & Cinema Controller Chassis, including AC3, PL2x, DTS ES/NEo 6 and circle surround II, 6 analogue inputs, 12 channel processor board 9700

Casablanca III Premium ¤ Premium 4 Channel Bal-o Board D/A 2000

Casablanca III Superior II ¤ Superior II 3 Channel Bal-o Board D/A 3400

Casablanca III Xtreme ¤ Extreme D-2 4 Channel Bal-o Board D/A (24bit/384khz) 5490

Casablanca III HDMI ¤ HDMI 1.4E 3D, Hi Res Audio Pack Dolby Digital HD, Lossless Audio DSP Card, DTS Master 5555

Casablanca III VSC 6C-4S ¤ Video Switching Card for Casablanca III (6 Composites, 4 S-Video) not compatible with HDMI card 998

Casablanca III VSC 8S ¤ Video Switching Card for Casablanca III (8 S-Video) not compatible with HDMI card 899

Casablanca III VSC 3M6S ¤ Video Switching Card for Casablanca III (3multi, 6S-Video) not compatible with HDMI card 1198

Casablanca III PGAC ¤ Panel Grade Alloy Cover Cosmetic & Sonic Upgrade for Casablanca 555

Casablanca III 6 Shooter ¤ Control muti channel analogue sources by Casblanca III Bal-I/o SE-I/o 2775



THETA DIGITAL £

Dreadnaught III Chassis ¤ Audio Video Amplifier, 5 available slots for custom rails, Bal-I,SE-I 3498

Dreadnaught III Rail 100 ¤ 100w rail Stereo (2x100w) takes one slot of Dread III 1500

Dreadnaught III Rail 225 ¤ 225w rail Mono (1x225w) takes one slot of Dread III 1249

Dreadnaught III PGAC ¤ Panel Grade Alloy Cover Cosmetic & Sonic Upgrade for Dread III 400

Dreadnaught III Faceplate ¤ optional Rack Mount Faceplate for Dread II 693

Enterprise SS Audio Video Amplifier (300w mono) each 6490

Citadel 1.5SS Amplifier (400w mono) Bal-I, SE-I each 12900



TRANSPARENT AUDIO


2012 PRICELISTabsolute sounds ltdabsolute sounds ltd.


Transparent audio full price listing available from

[email protected]

Superior Cables for audio and video components

WILSON AUDIO £Duette 2 Way Monitor Loudspeaker System Plus External Crossover 13998 Duette Stands Matching Wilson Gloss Stands dedicated for above 2498 Sophia III 3 Way Floor Standing Loudspeaker System 16498

Sasha W/P Watt/Puppy Reference Standard 3-way Modular Loudspeaker System 27450

Alexia Reference Standard Super Linear Adjustable Monitor Loudspeaker System 48000

XLF- AlexandriaReference Standard Super Linear Adjustable Monitor Loudspeaker System PoA

WATCH - Centre Series III ¤ Centre Channel Loudspeaker System 8600

WATCH - Center Series III Stand ¤ Matching Mirror Gloss Stand for above 1600

WATCH - Surround Series II Pair ¤ Surround Rear Channel Wall Mounted Loudspeaker System 9800

WATCH - Surround Series II Mount ¤ Surround Mounting Bracket 298

Mezzo ¤Reference Centre Channel Loudspeaker System 14500

Mezzo Stand Pedestal ¤ Matching Mirror Gloss Stand for the above 2900

Polaris Reference Centre Channel Loudspeaker System 28998

WATCH - Dog Subwoofer II Subwoofer System 7700

Thor’s Hammer High Performance Passive Subwoofer 22000

Subwoofer Controller Universal Wilson Audio Electronic Subwoofer Controller 3800






Ytr-1Yter speaker cable 1 meters/pair 1000

Ytr-2 Yter speaker cable 2 meters/pair 1050









Ytr-SE1 Yter Single ended directional interconnect 1 meter 1190

Ytr-BL1 Yter Balanced Interconnect w/silver connectors 1 meter/pr 1390

Ytr-BL1,5Yter Balanced Interconnect w/silver connectors 1.5 meter/pr 1690

Ytr-Poc Yter Power chord ( sppecify plug) 1098

Ytr-FS Yter fork set 8 pcs. silver banana to spade adaptor 299

Ytr-FLP Flexum panel Room treat design style acoustic panel 2250

studio line

YTER £

KEY




¤ Home Cinema Only

* Current Audio Signal Transmission II

Bal l Balanced Inputs Bal-O Balanced Outputs

Bal-I/O Balanced Inputs and Outputs

SE-I Single Ended Input

SE-O Single Ended Output

SE-I/O Single Ended Inputs and Outputs

RC Remote Control

SS Solid State POA Price on Application

ATF Advanced Thin Film Technology

VT Vacuum Tube Product

USB Audio HD

TBA To Be Annouced

New items are listed in Red

Pricelist October 2012 Vol. 101c

Including VAT at 20%

58 Durham Road, London SW20 0TW T: +44 (0)20 89 71 39 09 F: +44 (0)20 88 79 79 62

E: [email protected]

www.absolutesounds.com

This catalogue was designed in house so that we could ensure that the spirit of high end audio was preserved. Many people have contributed to this huge challenge, we want to extend our gratitude to: Peter Mackay of Krell Industries, Karen Sumner of Transparent Audio, John Giolas of Wilson Audio, Patrick Calmettes of Jadis Electronics, Devin Zell of Martin Logan, Cyril Menestier of Metronome Technologie, Brian Rivas and Emmanuele Fronteddu from Audio Natali.


absolute sounds ltd

AbSounds Catalogue2012 Lo Res

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Transcript of AbSounds Catalogue2012 Lo Res