Trickledown engineering wins hands down as the core technology behind Marantz's 12 series is buffed to a new polish, gaining network compatibility at an even lower price
The expression 'hot on the heels' is one thing, but to launch two sets of products seemingly offering similar features at much the same price might be seen as inviting customer confusion. Yes, that's just what Marantz has done, with the SA-12SE/PM-12SE SACD player and amplifier [HFN Nov '20] followed within weeks by the arrival of the 30 Series models – yes, an SACD player and amplifier. Add in the fact that both ranges draw heavily on previous models – to put it charitably – and one might well wonder what exactly is going on.
The group's fifth album was a turning point, paving the way for a career that would see them blossom from niche synth innovators to full-blown stadium rockers and in the process become the most commercially successful Scottish band of the 1980s
Simple Minds formed in Glasgow in 1977. Their name, which derives from a lyric from David Bowie's 'Jean Genie' now feels something of an odd choice, given the complexity of their sound. But people get used to a name and Simple Minds soon got a foothold in the post-punk milieu with their 1979 debut album Life In A Day.
Accordo standmount gains a dedicated woofer and larger, floorstanding cabinet. Hey presto: the Essence
No kidding: when I first fired up the Franco Serblin Accordo Essence, I figured it sold for around £20,000, somehow forgetting that the loudspeaker above it – the flagship Ktêma [HFN Sep '20] – cost £25k. Surely they wouldn't price two models so closely? Equally, I failed to recall that the standmount Accordo [HFN Jan '18] from which it is derived sells for only £7500. The pricing, however, illustrates how Massimiliano Favella is sticking to a plan where each model fills a sonic and fiscal gap: the Accordo Essence will set you back £12,998 per pair.
Barry Fox on the music books that bring insights into audio
Polymath Humphrey Lyttelton not only played as he pleased, he wrote as he pleased in many excellent books on music, once appealingly disparaging sound engineers he suffered on tour as 'Marconis'. The reason? They couldn't stop fiddling with the controls, so destroying the natural balance of his live band and adding electronic distortion.
Mark Levinson's second turntable, the No5105, has been designed to be a painless, all-in-one, 'turnkey' affair – but does it still tick all the high-end boxes?
Like that 'difficult second album', any sequel to the Mark Levinson No515 [HFN Oct '17] has to live up to a heady precedent. At £5799 less cartridge, or £6499 with Ortofon's Quintet Black S MC pick-up installed, the No5105 sells for just over half the price of the No515. While the inclusion of the cartridge does not save any money – certainly not always the case when buying a package – it does remove any set-up worries by being factory-fitted.
This month we review: Yves Saelens, Lucile Richardot, Het Collectief/Reinbert De Leeuw, BBC Philharmonic/John Wilson, Ida Ränzlöv, The Mozartists/Ian Page and Philharmonia Orchestra/Santtu-Matias Rouvali.