Longstanding Slovakian tube specialist Canor is based in Prešov, in a purpose-built factory where it builds everything in-house and has developed a proprietary valve-testing and burn-in methodology. Valves that don’t measure up, we’re told, are returned to their makers for use in guitar amps and the like.
The company traded for many years as Edgar until changing its brand name to Canor at the end of 2007. Its inaugural integrated tube amp, the TP101 was first shown in 1995 at an exhibition in Brno.
Exposure Electronics was founded by John Farlowe in 1974 and has remained committed to two-channel music reproduction. The company is largely famous for its big blackpre/power amplifier combinations of the 1980s, when it sold to people who wanted punchy solid-state amps that sounded smoother and creamier than rival Naim products.
Nowadays, the sound hasn’t changed much but the size has, and most of its wares are more affordable products such as this one – Exposure’s top integrated. The 3010S2 series comprises a CD player, mono and stereo power amps, a preamplifier and a phono amp.
96kHz/24-bit FLAC, BIS-1939 (supplied by www. eclassical. com)
Oramo’s Swedish orchestra plays Elgar with real warmth and commitment, especially the brass – glorious in the finale and at the end of the overture Cockaigne (where accurately dry bass-drum sounds are underpinned by organ – an option not always heard in recordings). There’s some characterful phrasing here by the principal clarinettist, presumably Hermann Stefánsson [see Hi-Res DownloadsHFN Aug ’14].
On And On (2013) was the second album from Hawaiian-born surfer Jack Johnson recorded in his own Mango Tree studios, since when he has released four further studio albums and three live recordings, as well as writing the songs for the 2006 animated movie Curious George, in between his extensive charitable activities which include education in schools about nature conservation, etc. It features his song ‘Gone’ which was covered by Black Eyed Peas (as ‘Gone Going’) on the band’s album Monkey Business where Johnson sang the chorus. The recording is up-front and intimate, Johnson’s voice and intricate acoustic guitar closely mic’d, while fellow players Merlo Podlewski (bass) and Adam Topol (drums) appear well balanced throughout these soulful and often spirit-lifting ballads. But is it worth having in a 96kHz/24-bit container? Probably not.
It would be hard not to succumb to the very real charms of this programme of polkas, waltzes, etc, by the three sons of Johann Strauss – replete with effects like insects’ wings buzzing (string tremolandos in ‘The Bee’), cuckoo and other birds (‘Im Krapfenwaldl’), or the comic anvil blows of ‘Feuerfest’. Currently with an extended contract with the Pittsburgh Orchestra, the Austrian conductor Manfred Honeck – he first graduated from playing zither to viola – has made a special study of the genre. The playing is carefully balanced, the VSO set well back in the lively acoustic of the Salzburg Grosses Festspielhaus. But there’s a certain ‘flatness’ when you compare the champagne sparkle and variety to be found with Boskovsky’s mid-’60s Decca versions with the city’s premiere league Strauss orchestra, the Vienna Philharmonic, still sounding amazingly vivid as CDs.
Often recording as ‘The Larry Goldings Trio’ this longstanding collective of American jazz virtuosi Larry Goldings (keyboards), Peter Bernstein (guitar) and Bill Stewart (drums) cover all manner of musical moods in their latest collaboration Ramshackle Serenade, from the rubato rumination of the album’s title track to the Brazilian-flavoured ‘Luiza’, interspersed with a smattering of blues, swing and soulful grooving to keep listeners enthralled throughout. The seductively rich textures and colourful tones of Goldings’ Hammond B3 organ (so reminiscent of the sounds favoured by Focus’s frontman Thijs Van Leer) have been captured exquisitely by this impressively dynamic recording released on the German label. The musicians really do sound like they’re playing together in a believable space, spread across a wide soundstage. Great stuff! JB
Sound Quality: 85%
Hi-Fi News Lab Report
Much of the ultrasonic energy arising from this digital recording is associated with the gentle percussion [as in track 8,above] but could also be a product of distortion from downstream limiters.
American songstress Natalie Merchant has been an audiophile favourite ever since she departed the lead vocalist’s role from 10,000 Maniacs two decades ago. Her solo debut Tigerlilly was among the initial batch of albums selected by Warner to mark the introduction of the DVD-Audio format, while 1999’s Live In Concert featuring covers of ‘After The Gold Rush’ and ‘Space Oddity’ is a timeless hi-fi demonstration recording. She’s hardly prolific. This eponymously-titled release is only her sixth studio album – and having married, divorced, and raised a daughter it sees her songwriting reaching a high level of maturity as she touches on many personal issues.
Germany’s T+A has spent the last couple of years developing a completely new range of all-solid-state electronics: its ‘HV Series’.
Built into an all-aluminium case, the PA 3000 HV amplifier’s individual sub-assemblies are screened in separate chambers. An upper compartment houses the preamplifier and voltage amplifier stages, while the electronic control processor and circuitry for driving the display screen – fed by a separate power supply arrangement – sits in a recess machined out of the 40mm-thick aluminium front panel. A 10mm-thick dividing wall shields the top section from the left/right current amplifier stages and the unit’s massive power supply is in a lower compartment.
The Editor’s review briefing included the warnings: ‘It’s 29kg – you may need help in unpacking it’ and ‘The S-550i is a remarkably dense amplifier, probably the most self-effacing yet monstrously powerful integrated we’ve ever tested. ’
This new flagship integrated, replaces the FBI while the S-300i remains as Krell’s entry-level integrated at £2795. The S-550i is a true ‘big brother’: the sonic resemblance is uncanny save for a brutal power delivery.
While the front panel suggests minimalism, that’s only because all minor settings are relegated to a menu system, eg, balance setting and input trim, which can also be accessed by the full-function remote.
Yes, those valves – made in-house – really are a foot tall! And they radiate substantial heat once the SXI has been powered up for a few minutes, but KR Audio’s amplifiers are beautifully engineered.
The company is based in Prague, founded by electronics engineer the late Dr Ricardo Kron in 1992. It’s a boutique firm of only a dozen or so people – skilled artisans who blow the glass and hand-craft the tubes.
Such is the transparency of KR Audio’s Kronzilla amplifiers that at least of couple of German recording studios use them in mastering suites.