With some sensible internal revisions, the German company has made its heavyweight preamplifier even more precise and detailed, without sacrificing any of the music's soul
You can tell a lot about a company from the title it takes for itself – from the name of the founder to classical or musical allusions to the equivalent of go-faster stripes, every brand seems to set out its stall in a somewhat different way. German manufacturer T+A elektroakustik is no exception, except here the name – the initials stand for 'Theorie und Anwendung', Theory and Application – is saying 'we're no-nonsense, and led by engineering'. Or, as the company puts it in a brief bio, 'Actually we're scientists…'.
An unchanged exterior hides PMC's crossover and driver upgrades made to its premium three-way floorstander
In The Who's 'Won't Get Fooled Again', Roger Daltrey memorably sings 'Meet the new boss – same as the old boss'. It's a phrase that sprang to my mind when confronted by PMC's twenty5.26i, as this floorstanding speaker is, outwardly, identical to its twenty5.26 predecessor launched in 2016, with cabinet dimensions matching to the millimetre. Yet PMC describes its new twenty5i series as a 'substantial re-engineering', improving performance without moving away from the signature sound of its forbear.
The front-end to Yamaha's 'Gigantic and Tremendous' 5000 series is not a digital player or DAC but a turntable, and one whose controversial arm harks back to the '80s
And then there were four... We enjoyed the Yamaha NS-5000 loudspeakers [HFN Jun '17] and were bowled over by the C-5000 preamplifier and M-5000 power amp [HFN Aug '20]. Now we have the source with which Yamaha has chosen to front its flagship 5000 series. Not only is it a return to high-end turntable manufacturing for the company, it also sees the reappearance of what is possibly the greatest model number prefix ever, the 'GT' standing for 'Gigantic and Tremendous'!
The Colorado company celebrates its platinum anniversary with a reworked version of a fully balanced integrated that sent the preamp stage packing. Another class act?
Back in 1993, Charles Hansen – the designer and founder of respected US loudspeaker specialist Avalon Acoustics – formed Ayre Acoustics. Over the 25 years that followed, he built up the brand, adding a range of innovative preamps, power amplifiers and integrated designs, all descended from the company's original 'zero-negative feedback' V-1 power amplifier. Bolstering the current lineup are various digital sources, such as the Ayre QX-5 Twenty USB/streaming DAC [HFN Dec '17], phono stages, and head-fi products like the Codex DAC/headphone preamp [HFN Jul '16] – all at prices that indicate they're not aimed at the mass market.
Packed with proprietary technology, this network bridge is the obvious partner for Aqua's own DACs. But does its appeal extend beyond a one-brand digital set-up?
Never let it be said that AQ Technologies is either a follower of fashion or a taker of the easy route: the Milan-based company behind the Aqua range always does things its own way. And while that might sometimes seem like an exercise in making life difficult for itself, the policy typically pays off in the performance, as we discovered when reviewing the Aqua Formula xHD Optologic DAC [HFN Apr '20]. Under the Nextel-finished anti-resonant aluminium casework of that model – one of three DACs in a total Aqua lineup of five products – is a galvanically-isolated resistor-ladder converter of novel design.
While a near dead-ringer for the amp it replaced, this '60s integrated saw Leak leverage new technology to boost performance and widen its appeal. How does it sound today?
It's not unusual for a successful hi-fi product to be updated with mild revisions during its lifetime. Often the changes are minimal: a tidied-up fascia to match a new model added elsewhere in the range, or an extra function or minor circuit redesign. This was certainly not the case with the Leak Stereo 30 Plus amplifier of 1969, which replaced the Stereo 30 [HFN Oct '10] first seen in 1963. Side by side the two looked much the same, but inside the 30 Plus was all new in order to take advantage of improved technology.
An enhanced crossover and Datuk Gloss ebony-coloured veneer sees the 702 S2 offered in a 'Signature' guise
You'd be forgiven for a double-take when gazing upon the latest offerings from Bowers & Wilkins, the £4499 702 Signature speakers. One of two new Signature models from the Worthing-based company – the other is the £2699 705 Signature standmount – there's little to set this slender floorstander apart from the £3399 702 S2 on which it's based [HFN Dec '17], beyond a rather snazzy wood finish to the cabinet, some shinier trim-rings around the drivers, with a matching grille over the tweeter, and a metal 'Signature' plate on the rear panel.
Inspired by the flagship Acutus turntable, and bucking the trend for unsuspended decks with socially-distanced motors, the Volvere SP also comes with a familiar tonearm
Given that pretty much every component AVID has ever offered is still in production, it's clear company owner Conrad Mas does not chop and change designs on a whim. So it's no surprise that when it comes to turntables AVID has largely stuck with the thinking behind its very first deck, the Acutus, which was launched in 1999.
This flagship DAC from Canada, complete with a raft of in-house digital and power supply technologies, and very slick control app, is a complete network music solution
When is a DAC not a DAC? When it turns into a multifunctional network-connected music player, that's when! Increasingly, the lines between products that exist to convert digital inputs into analogue audio and full-blown network players are becoming blurred. So, just as there are players provided only with digital outputs – network transports or bridges to be paired with an outboard DAC – so we now have DACs with network capability built-in. Add an app running suitable UPnP control software, and you have a complete streaming solution.
In a world where every other product seems to have streaming this or network that, this compact box from the German brand is about as direct – or linear – as it can get
Writing in his Welcome page last month, editor Paul Miller explained how shifting hugely heavy equipment about is all part and parcel of the HFN reviewing 'experience'. Perhaps he was eyeing a recent speaker launch proudly declaring that its new products weigh over 450kg apiece. Add on their external crossover with its power supply, and a quartet of high-quality amps to drive them, and you could well end up wondering whether your floor will support a tonne and a half of hi-fi.