Ed Selley

Ed Selley  |  Nov 19, 2011  |  0 comments
New version of the V-DAC offers asynchronous USB and improved appearance. The V-DAC II replaces the company’s earlier V-DAC [HFN May ’09] and comes with a number of updates – as well as a £40 increase. Firstly, the new version replaces the black finish and quirky lettering of the V-DAC with brushed silver aluminium replete with more mature typography and inset grooves. The cigar-box-like dimensions remain the same and the casework feels solid and well made.
Ed Selley  |  Nov 19, 2011  |  0 comments
A sumptuous Italian pairing with sonics to match the exquisite looks You have to hand it to Italian designers: they sure do know how to make a statement. These mightily imposing valve power amplifiers dubbed 845 Monoblock and accompanying PhL-5 preamplifier simply ooze luxury. At £9995 per pair, the monoblock employs twin 845 tubes in parallel single-ended pure Class A mode, with two 6SN7 dual-triodes used as drivers and, as you might expect, zero negative feedback. The transformers are hand-wound with litz wire to avoid the use of solder and are ‘potted’ in a mix of resin and gravel to provide mass damping.
Ed Selley  |  Nov 17, 2011  |  0 comments
The first solid-state Quad remains a classic of the genre Exemplifying all that was admirable in British hi-fi, the 33 preamp (£43) and 303 power amp (£55) were Quad’s first commercial solid-state offerings, the company having waited for the new-fangled transistor to settle down before embracing it in 1967. It was in many ways ‘a solid-state Quad 22’. Any previous customer would have immediately recognised the control locations, the flushmounted rotaries, the balance control under the volume control, the press buttons that also offered Quad’s unique, fully cancellable filter and tone controls and RIAA selectors. In size, the 303 and the Quad II power amps were nearly interchangeable.
Ed Selley  |  Nov 17, 2011  |  0 comments
The ancestor of a modern classic still has much to commend it Author of a couple of 1967-8 HFN features comparing the operation of output stages in Class A and AB transistor amplifiers, Jim Sugden then owned a company producing lab and test equipment. But thanks to a collaboration with Richard Allan, a company making speakers based nearby in Yorkshire, the first Class A amplifier made by Sugden was marketed under the Richard Allan name. The A21 amplifier made its first public appearance at the ’68 London Audio Fair in London. A 10W-per-channel integrated, it sold for £52, like Leak’s Stereo 30.
Ed Selley  |  Nov 17, 2011  |  0 comments
Revisiting the first British solid state amplifier Goodmans was one of the most prolific loudspeaker makers of the 1960s, also supplying the radio and television trade. The company ran from 1932, ending when the TGI group was broken up in 2004. But the brand name as such survives marketing a range of DVB set-top boxes and LCD TV sets. Introduced in 1966 with a price tag of £49 10s, this compact little amplifier, the Maxamp 30, measured just 10in tall, 5in wide and 7in deep.
Ed Selley  |  Nov 17, 2011  |  0 comments
How does the original CD player stand up nearly thirty years after its introduction? It was in March 1983 that the compact disc system officially arrived in Europe. With it came the first European-made CD player, the top-loading Philips CD100. Four years before, in March 1979, Philips had given a first press demonstration of a Compact Disc player prototype, using 14-bit digital encoding. Philips was already marketing 30cm video discs but believed that there should be a separate, smaller disc format for audio.
Ed Selley  |  Nov 17, 2011  |  0 comments
This clever little speaker still sounds more than respectable An audio pioneer, Jim Rogers possessed real acoustic engineering talent as well as in electronics. The original Rogers folded corner horn may not offer true stereophonic reproduction, but it’s a fine room-filling beast. And as for the later flat-to-the-wall Wafer speakers, based on Philips drive units and measuring just 2in thick, these are surprisingly magicalsounding. Then there’s the JR149.
Ed Selley  |  Nov 16, 2011  |  0 comments
A classic Japanese brand stages a welcome return with a competitive design It’s easy to forget that movingcoils were once the minority cartridge choice (not least because the best of them were low-output types needing complicated step-ups). For most hi-fi enthusiasts, moving-magnets ruled. In between MMs and MCs were other types: variluctance, movingflux – with Nagaoka providing, with its ‘Moving Permalloy’, one of the more successful alternatives to straight MM operation. Common to all, or nearly all, non-MCs was a higher output that would work with the standard 47kohm phono input then prevalent.
Ed Selley  |  Nov 16, 2011  |  0 comments
Ortofon's flagship moving magnet design offers superior spacial performance No strangers to the pages of HFN, Denmark’s Ortofon company remains one of the world’s foremost manufacturers of cartridges both for hi-fi and DJ use. Its best moving-magnets currently are the 2Ms, a four-strong series with interchangeable styli topped by this 2M Black, sporting a Nude Shibata stylus. It might appear that they all use the same body shell, with distinctive angular contours and internal generators with neodymium magnets, however the two best – the £280 2M Bronze with a Nude Fine Line stylus and this 2M Black model – are formed from a more rigid Noryl plastic/glass compound as well as employing better ‘engines’ featuring split pole pins with silver-plated copper wire. The 5mm-deep tapped fixing holes in the top of the body allow rigid bonding to an arm’s headshell.
Ed Selley  |  Nov 16, 2011  |  0 comments
As well as looking impressive, the Series 3 included some interesting features When JBE unveiled its Slatedeck in the late 1970s, it wasn’t just a turntable different for its time. It was a design that remains radical to this very day. Not only did its looks set it aside from its contemporaries (slightly Kubrick 2001 to our eyes) but it featured such niceties as a Japanese-sourced direct-drive motor system with a variable-pitch outboard electronic power supply – years before anyone else in the UK offered one at this price point. Construction was also unique, the solid non-sprung plinth was either manufactured from clear plastic acrylic, or (in sonic preference and name) slate quarried from North Wales.

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