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You can say many things about the Grimm Audio LS1, but not that it is ordinary. What is the Grimm LS1? The easy but incorrect answer is to simply say that it is a loudspeaker. Actually, it’s an all-but-complete audio system that includes analog and digital interfaces, digital crossovers, amplifiers, and speakers. To play music, the only other thing you need is a source component.
The design of many of today’s speakers is dictated by how they will appear -- including whether or not they look like “high-end” components. However, the LS1 was mainly designed by Bruno Putzeys, the man behind the Hypex and Mola-Mola brands -- someone with a solid technical background who seems able to balance the various priorities of loudspeaker design. Nothing in the LS1 seems to have been left to chance, or dictated by anything but solid engineering.
Most speakers today have a narrow front profile and considerable depth, but the Grimm LS1 ($29,900 USD per pair) is tall, wide, and shallow: 45”H x 20.3”W x 6.25”D. Included in that height are the speaker’s two legs, which house the DSP crossovers and amplifiers. The cabinet is available in veneers of Light or Dark Bamboo, or in Corian. A separate, optional bass unit, the LS1s, goes on the floor between the legs. The result is a very efficient construction that I think is quite beautiful.
In our modern world, we constantly see established brands extending their product offerings to increase market share and, thus, profitability. Mercedes and BMW targeted larger pools of buyers by attempting to distill their marques’ luxury pedigrees into, respectively, the A-Class and 1 Series. Toyota went upmarket with Lexus, and even Ferrari has occasionally upped the ante with limited editions of such statement cars as the F40, the Enzo, and LaFerrari. The pattern is repeated again and again in various consumer industries and product lines, and the high-performance audio industry is no exception. Speaker manufacturers do it all the time (e.g., Vandersteen’s progression upward over 30-plus years from the 2 to the 3 to the 5, then the Seven and, soon, the Nine). Similarly, we have followed closely when technology leaders like dCS push ever higher, from their Elgar through Scarlatti lines to, now, the Vivaldi models.
Over the past few years, Bob Clarke of Profundo has hosted me for some impressive and pleasurable demos, both at audio shows and at his new home in Round Rock, Texas, near Austin. The systems he sets up usually include analog chains and these always feature cartridges made by Transfiguration, a small Japanese firm specializing in low- to medium-output moving-coil transducers. Last spring, during a listening session in Round Rock, as we enjoyed an Ella Fitzgerald LP of tunes made famous by bebop genius Charlie Parker, I mentioned, as casually as I could, that I was curious about Transfiguration.
Clarke said he’d just received the first production units of the Phoenix S cartridge ($4250 USD), a new redesign of the Phoenix that he thought was a significant improvement over the Phoenix Mk.II ($2750, discontinued). He believed the Phoenix S had more musically relevant resolution, was more open and extended on top, and sounded smoother and more free of grain.
How much should you spend these days on a digital-to-analog converter? It’s a loaded question. The knee-jerk audiophile answer is “How much do you want to spend?” -- as if that’s really going to tell the consumer what they need to know. Shouldn’t the answer also be “What level of sound quality are you seeking?” and “What system components do you have now?”?
In the last few years, my idea of what is an acceptable amount to pay for a DAC has changed. I think the most anyone should ever need to spend is about $15,000 USD, maybe a smidge higher. For that you can get a state-of-the-art DAC from, say, Ed Meitner -- or Berkeley Audio Design’s new flagship, the Reference. Unless your ultimate goal is bragging rights, I don’t see any reason to spend the $30k, $40k, $50k, or even more that some companies are charging.
In my youth, in audio’s dark ages, when LPs were the primary format for recorded music, a preamplifier was a single box housing a line stage and a phono stage. Today, however, preamplifier is often used as a synonym for line stage. If you’re a vinyl fan, there’s a good chance your phono stage is a separate component with its own power supply -- a phono preamplifier. That makes economic sense; despite the resurgence of interest in vinyl, many of today’s audio systems have only digital sources, and the surge of interest in computer audio will probably only increase the popularity of all-digital systems.
The floorstanding Magico S3 costs $22,600 USD per pair and measures 48”H x 12”W x 12”D, a small footprint that makes positioning them considerably easier and more rewarding, particularly in rooms not dedicated to listening. The speaker’s effective width is increased to 16” with handsome outrigger stands that, when set properly, couple the speakers to the earth’s continental shelf. Despite its modest size, each S3 weighs 150 pounds -- like all current Magico speakers, its cabinet is made of aluminum well damped to suppress any ringing. The S3 is also the largest of Magico’s S models to have a monocoque chassis, which is claimed to provide greater stiffness than the multi-piece construction of, say, the S5.
The S3’s fit and finish in one of Magico’s six basic M-Cast finishes (Black, Pewter, Silver, Rose, Bronze, Blue) is beyond reproach. For a modest upcharge, you can get the S3 in a painted, M-Coat finish. Like other Magico speakers, the S3 is made almost entirely in house. No off-the-shelf drivers for these guys; the S3 has the same beryllium tweeter and Nano-Tec midrange driver found in the S5 ($29,400/pr.), along with a pair of newly developed 8” woofers instead of the 10” model used in the S5. While I greatly admire inventors who first must invent something else in order to realize their true inventions, I sometimes wonder if it’s actually necessary, or merely marketing fluff to justify a designer’s OCD. In the case of Magico’s Nano-Tec drivers, it seems to have been necessary. Here’s why.
During its first 17 years, Synergistic Research manufactured only signal and power cords. However, in 2008, the company introduced the first of what would become an avalanche of non-cable products: EM cell power conditioners and component platforms, active cable power supplies, AC outlets, interconnect and speaker cells, passive room-treatment devices, component feet, digital-to-analog converters, and fuses.
Many of these products, like most of Synergistic’s cords and cables, utilize technologies that are derived from the work that Ted Denney, the company’s ’s lead designer, has conducted concerning several areas of quantum mechanics, particularly the balancing of energy fields within active components. Undoubtedly, such technologies are not always completely understood or explained. Nor can their effects always be measured by traditional testing equipment. These technologies are, like almost everything in the world of high-end audio cables, controversial.
Nonetheless, Denney claims that Synergistic’s sales have doubled since 2008. Clearly, he’s doing something right.
Color me skeptical. This review is a month late because I was having a hard time accepting the announcement of Ayre Acoustics’ new KX-R Twenty preamp -- and, subsequently, requesting to review it. The original KX-R had been my reference for some two-and-a-half years -- longer than I can remember any component staying in my system since I began this reviewing thing back in 1998. Sure, other preamps came in for review. But then they left. I can’t say I was ever tempted to replace the KX-R, not even with substantially more expensive components that I was able to compare it with, side by side. The KX-R was the quietest, smoothest, most resolving, most enjoyable preamp I’d had in my system. Heck, it might be the single best stereo component I’ve ever owned.
Canada’s Resonessence Labs made a name for itself with its first product, the Invicta DAC ($4995 USD; $3995 at time of review), which our own S. Andrea Sundaram positively reviewed in July 2012 for SoundStage! Hi-Fi. Since then the company has primarily been occupied with releasing a host of new, less expensive products -- their Concero line -- priced below $1000 each. And just this past year, Resonessence reached an even more attractive price point with the Herus USB DAC-headphone amplifier, for $350. Reaching a wider audience is clearly one of the company’s goals, and I think it’s a strong move -- many audiophiles are realizing that great sound needn’t cost an arm and a leg.
A listener’s room should always be a strong consideration when selecting a reference loudspeaker. Size, as I’ve been told in a variety of contexts, matters. I’ve always been inclined -- and I suspect I’m not alone in this -- to buy the biggest speakers with the biggest bass drivers I could lay my hands on. That’s not always advisable, however. Sticking a pair of such obelisks in a small listening room just won’t work. You probably won’t get enough stereo separation from massive cabinets, speaker height could be a problem, and the bass will assuredly overload even the most damped and treated space. Normally, as you move down a given line of speaker models, the cabinets get smaller and less complex, the driver arrangements simpler, the drivers perhaps less capable. The smallest is usually a three-way, maybe even a two-way. Each of these compromises leads to concessions in terms of dynamic range, ultimate output ability, and, likely, powers of resolution. For me, the smallest speaker was never an option. Then again, I don’t like getting the smallest of anything. Maybe it’s because I’m American.
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