Inspired by the ‘Momentum’ circuit and industrial design that put D’Agostino Master Audio Systems on the map, its Progression series could make the biggest impact yet
The Progression Stereo amplifier is built around a dual-wound 1400VA toroidal transformer coupled to 400,000µF of power supply storage capacitance that feeds no fewer than 48 power transistors – 24 per channel. On paper this is said to generate 300W/8ohm, doubling into 4ohm [see PM’s Lab Report]. And it’s yours for roughly half the price of a pair of the company’s Progression Monoblocks [HFN Jun ’17].
With an upgraded specification including an asynchronous USB input with DSD capability, ATC’s CD player/DAC/preamp aims to be a complete system front-end
Is this a new twist on the CD player? Or yet another new variation on the DAC? Well, neither actually, for as that ‘Mk2’ suffix suggests, this is a revised version of ATC’s innovative CDA CD player/DAC/preamp combination, selling for £2950 and designed as the perfect partner for the company’s £3375 P2 power amplifier [HFN Mar ’17], or its range of active speakers.
96kHz & 192kHz/24-bit, FLAC*; Linn CKD572 (supplied by www. linnrecords. com)
Sibelius’s First Symphony has long attracted hi-fi enthusiasts with landmark recordings by Collins, Maazel, and Vänskä that showed off your system – not least in the exciting scherzo with its textural contrasts. The Sixth, by contrast, was his most austere symphony, described by the composer as offering ‘pure cold spring water’.
Remember Ten Years After? This is the sort of ‘roots music’ that inspired that band, The Rolling Stones, Led Zeppelin, Golden Earring, Little Feat, and countless others. Heavy white-boy blues, simple lyrics, extremely repetitive rock arrangements with almost no rhythmic variation, an exaggerated bottom octave, and too much slide guitar all add up to minimal interest for this reviewer, but despite its utter familiarity, or perhaps because of it, lots of blues-rock fans will likely devour this album. Opinions vary, and that’s a very good thing. Many of its songs have been done better by other bands (‘You Got To Move,’ ‘Bid You Goodnight’) and fortunately, none of them runs longer than five minutes.
Fifty minutes of Charlie Parker’s hard bop could induce trepidation in some listeners, but that’s not what this intriguing collection is all about. Instead of Parker retreads or outtakes, it’s an assortment of all-star reinterpretations of Bird’s compositions, some of them superbly soulful and engaging (Madeleine Peyroux’s opener, for example) and others requiring true-believer enthusiasm for bebop (Barbara Hannigan’s ‘Epitaph Of Charlie Parker’, Jeffrey Wright’s ‘So Long’). The band features veterans from David Bowie’s Blackstar, with Craig Taborn on keyboards and musicianship is beyond reproach, as is the recording quality. This album will grab your attention – listen to it once, then maybe via the ‘random play’ function on your player.
There’s a beguiling immature quality in Ariel Pocock’s voice – she’s in her mid-twenties but sounds much younger – that contrasts with the sophistication of her musical arrangements and the band backing her on this recording. Her vocalisations evoke a sweet innocence that older jazz singers can’t and shouldn’t try to imitate. The title track comes off almost like a college girl’s improvisation-on-the-spot – a really good one that succeeds so well it surprises even its creator. Amusingly, she tackles more than she can handle with Cole Porter’s ‘So In Love’, but it’s a valiant attempt, and the extended instrumental break is wonderful.
The British contender for the late '70s budget amp crown won the hearts and wallets of many a budding audiophile thanks to some canny tech. How does it sound today?
In the early days of hi-fi, the budget amplifier was usually considered an object of disdain, to be quickly upgraded as soon as funds allowed. More capable designs such as the NAD 3020 changed this view and by the late '70s improvements in component technology had made it possible to produce really good amplifiers that still could be sold for reasonable prices.
Improved sensitivity and a deeper bass are just two features of the Master Chronosonic-inspired Alexia S2
During their time, Wilson's famous 'Watt Puppies' were upgraded on as many as seven occasions, until the Sasha W/P was born (now also in its Series 2 iteration). The Sasha was no longer a standalone monitor with a carrying handle and a matching subwoofer but a fully-fledged modular integrated loudspeaker system.
Cryogenic treatment, a patented demagnetisation process and silver/gold ‘dosing’ lie at the heart of Furutech’s latest flagship speaker cables
It’s all about the copper in Furutech’s cables. Even the geometry of this flagship NanoFlux design is fairly conventional, as is the multistrand conductor style and ‘audio grade’ PE (polyethylene) dielectric that binds it. The carbon-fibre sleeving of those bright, rhodium-plated plugs/spades and ferrite clamp certainly adds to the exquisite finish of these supremely well built cables, but it’s what you can’t see that really makes the difference – Furutech’s proprietary ‘Alpha Nano-Au-Ag OCC Pure Transmission Conductors’.
Sitting at the top of the German company’s range, this flexible pre and hefty stereo power amp are designed to take on the high-end’s big names, and take no prisoners
The PA 8.2 preamplifier and SA 8.2 stereo power amp sit at the top of the German company’s Ovation range, although there’s also the option of buying its MA 8.2 monoblock amps in place of the SA 8.2. These are essentially the SA 8.2 bridged internally to give even greater power – rated at 600W/8ohm in place of the stereo amp’s 250W a side. However, despite the commonality, there’s no bridging option on the stereo model reviewed here.