Top of the trio in Transparent's Premium series, and now in fifth generation guise, the (upgradable) Ultra combines a cable and filter network.
There's a very clear philosophy at work in all Transparent's cables: that 'wires' are unavoidable, so their bandwidth should be constrained to an appropriate range, banishing the egress of RF noise, and their lumped parameters – inductance, capacitance and resistance – be 'managed' to maintain a consistent and predictable performance regardless of the cable length. This, in a nutshell, is the rationale behind the in-line filter network that's part-and-parcel of every Transparent cable.
With a radically different design to other MCs, Lyra's second-to-top cartridge has a sound unlike anything else around. Costly yes, but what price the pursuit of perfection?
Analogue addicts find themselves with a bewildering array of choices that extends way past which turntable and/or tonearm to buy. The world of cartridges is complex and potentially baffling, especially with moving-coil types. Many eventually progress from buying the big brands to trying out specialist makers – and it's here that we find Lyra. Its products inhabit a niche within a niche: they are all hand-built, low-volume devices that for nearly a generation now have sold largely to devotees of the brand.
Combining simplicity with flexibility, this pre/power combination from one of the best-known names in French hi-fi has much to offer – including the odd quirky feature...
Like some other French audio companies, Yves-Bernard André's eponymous brand has hovered on the periphery of UK hi-fi enthusiasts' perception. But the company has been on a mission to change all that, taking a more global view with a lineup extending to no fewer than five product ranges. The Passion models, represented here by the £6750 PRE550A preamp and £5750 AMP650 power amp, sit near the top of the pile.
With its lustrous-looking swooping cabinet, exotic drivers and colossal price tag, this is a seriously special speaker
When you're designing a loudspeaker that sells upwards of £38,000, depending on finish, you can pretty much do what you like. Brands selling sub-thousand pound floorstanders have a super-keen eye on what their competitors are doing, and what the market wants. By the time you reach the Raidho Acoustics D-2.1's level, however, you're in a whole new world – it's where designers spread their wings and fly.
The svelte D 3020 contrasted with the iconic 3020 amp of '78, but this V2 trades-in USB for phono and Bluetooth in a bid to regain its crown as the ultimate 'starter amp'
The original NAD 3020 integrated amplifier of the late '70s was a genre-defining product – a compact integrated full of useful features that cost relatively little and became recognised for bringing high-quality home audio to a much wider audience. I wouldn't mind betting that many readers will have owned one at some point or at the very least be familiar with its reputation as an 'all go, no show' audiophile amp for its remarkably likeable sound but rather retiring 'grey slab' looks.
Claiming to be 'the last digital front-end you will ever need', can this combination of wide-ranging compatibility and ongoing upgrades match up to that ambition?
The ever-evolving digital audio landscape has made buyers wary and manufacturers jumpy. It seems that each time a company launches a 'definitive', future-proofed product, some new format or twist pops up for its moment in the sun as the 'must-have' way to store and play music. However, some manufacturers handle this problem better than others, thanks to designs able to deal with every known format of the moment, and having either modular construction or firmware upgradability to keep up with changes.
With a legacy stretching back about 28 years, the 805 may still be the pint-pot of B&W’s 800-series but this latest D3 standmount can still pack a musical punch
One of the world’s largest, if not the largest, loudspeaker brands, B&W dominates the global high-end market. From the launch of the iconic 801 Series 80 nearly 40 years ago, the 800-series has been periodically improved along with advances in engineering and materials.
Making the step from software supplier to hardware brand, Roon has developed a pair of boxes designed to sit at the heart of a system. But what do they actually do?
Having been something of a ‘sleeper’ for a while, favoured by an admittedly growing group of computer-based audio enthusiasts, there’s every sign that Roon – the music server/database software – is finally going rather more mainstream. A number of manufacturers have launched products with, or updated existing models to, Roon-ready status, and now the company behind the software has entered the hardware market with a pair of hub components co-developed with Intel: the £1500 Nucleus, and the £2500 Nucleus+ we have for review here.
Fleet Foxes, insofar as I have been able to determine, is a millennial cult item from Seattle. Their first album in six years, Crack-Up is an exercise in high-minded art for art’s sake, in which densely orchestrated and intensely overproduced music obscures reverb-heavy lyrics whose meaning is known only to their author or his acolytes. Was the reverb intended to evoke the sensation of a live performance? Throughout most of these inscrutable compositions, one can hear echoes of every ambitious big-statement pop-rock album of the past 40 years. Some tracks are intriguing – or have intriguing parts – and the musicianship is very good, but for the most part Crack-Up is heavy-handed, self-indulgent, pretentious, overwrought, over-engineered, and baffling beyond comprehension.
These four young Spanish musicians decided they would like to undertake the three Brahms Piano Quartets – composed for piano, violin, viola and cello and first heard in 1861, ’62 and ’75. No 1 is by far the most popular, not least for its final ‘Rondo alla Zingarese’, and it was later orchestrated by Schoenberg (and twice recorded by Rattle). The 1949 set by Serkin and the Busch players is still current and these new recordings face huge competition. The stage width in this Zaragoza studio production is rather narrow and the 1862 Vuillaume violin sounds less generous in tone than I would have liked.