Kevin Edwards, founder and managing director of Talk Electronics in Surrey, is introducing a new range of ‘budget’ products under the brand name Edwards Audio. Unusually for such an enterprise the intention is to manufacture everything locally in the UK rather than design it here and have it made overseas.
The manufacturer says this ensures better control of manufacturing quality. But as discussed before in the pages of HFN, the cost benefit of manufacturing in places such as China is fast reducing anyway due to increasing labour costs and the diminished value of the pound.
Having played with a number of PrimaLuna ProLogue products, I’m safe in saying that each and every one represents astonishing value because 1) they’re made in China, but 2) to European standards. They single-handedly established and provided credibility for the lower entry-level price point for rock-solid valve products, and showed that China was ready to compete with the rest of the world in hardware manufacture, if the proper structure was applied. With DiaLogue, PrimaLuna is attacking the next price point, with the same vigour.
That in itself should be enough to make the DiaLogue Two a fascinating prospect for those with up to £2000 to spend on amplification.
With HD technology and disc formats now on a firmer footing, almost every maker worth its transistors has launched a
range-topping ‘HD’ amplifier. Enter Denon’s AVC-A1HD, goodbye AVC-A1XVA.
Price-wise, the AVC-A1HD amplifier’s £3800 ticket nestles between Denon’s flagship AVR-4308 receiver (£2000, HFN, Dec ’07) and its new £10,000 A1HD multichannel pre/power combination. But of far more relevance is its position against its only serious competition – Yamaha’s DSP-Z11 (HFN, Apr ’08) and Pioneer’s SC-LX90, both at £5000.
I always get a warm, Sunday afternoon feeling when a new product arrives from Arcam. While you can imagine the Far Eastern competition frenetically working 24/7 to be first to market with the latest multichannel widget, I see Arcam as a little more reserved, a little more British. The AVR600 may have been a long time coming with its HD-audio decoding, multi-room installer features and premium video processing but it simply exudes dedication and polish from the moment you open the box.
It’s substantial for starters.
This way madness lies. Or so you’d think if you buy hook, line and sinker into the mythology that has grown up around the Swiss darTZeel brand. And yet our Movers & Shakers feature in the March ’09 issue illustrated that darTZeel partners Hervé Delétraz and Serge Roch are nothing if not methodical in their approach to amplifier design. Their goal is to keep the audio path as straight and simple as possible, avoiding input/output switching and even using an optically-coupled rotary encoder for volume rather than a conventional potentiometer.
Our tendency to attribute the revival in separate transports and DACs to the rise of MP3 players, DAB et al, didn’t anticipate Accustic Arts’ flagship models. Its Reference Series’ TUBE DAC II and DRIVE II offer neither USB nor mini-jacks to suggest the welcoming of lesser/newer digital sources. This pair is almost retro, recalling the earliest, most over-engineered high-end transports and DACs, with valves thrown in for good measure.
That they’re handsomely-styled, ergonomically intelligent exemplars of Teutonic build quality goes some way toward accounting for painfully high prices of £6150 for the DAC and £6750 for the transport.
There must have been at least a few moments in the 1990s when Linn came close to dropping the Sondek for good. In the brave new world of multi-room, AV and custom install products aimed at well-heeled Beocustomers, that old belt-driven LP spinner was becoming a serious anachronism.
Then there came a sea-change, as, to its credit, Linn seemed to rediscover its musical roots, launching the Majik CD playing system, and at around the same time starting to wheel out the LP12 for hi-fi shows once more. Subsequently, the latest enhancements of the LP12 and the Ekos arm have been highlighted as ‘SE’ upgrades.
Last year saw the 125th anniversary of the oldest brand in specialist hi-fi. While Thorens actually spent its first few decades producing musical boxes, it has a remarkable audio pedigree. So even if you think the current vogue for 12in tonearms is just a craze fuelled by audiophile one-upmanship, you certainly can’t accuse this venerable German company of bandwagon-jumping with its ‘anniversary’ TP 125 Special Edition. This arm looks perfect on Thorens’ flagship turntable, the TD 550.
Although German speaker manufacturer Audio Physic has had a low profile in the UK for some years, its name still has cachet here among those who remember its products with affection. Now back with a new distributor, C-Tech Audio, it is aiming to re-establish old friendships and forge new ones. Its three-driver, two-and-a-half-way Sitara is the new base member of its three-model High End range and does battle in the competitive market for £2000 floorstanders.
The Sitara’s key visual feature is its tall, narrow cabinet which leans backwards at seven degrees to provide time delay compensation for the displaced acoustic centres of the tweeter and bass-mid driver.
Until the recent addition of high-end Japanese AV processors like Denon’s AVP-A1HD, the upper echelons of the multichannel pre-amplifier market have been dominated by US brands like Lexicon and Krell. Neither of which have ever really got my juices flowing if I am honest. Enter Anthem, a new contender from Canada’s Paradigm stable [see box], with the Statement processor and power amplifiers.
It is easier to start with the Anthem Statement P5 and P2 power amps.