• Content count

  • Joined

  • Last visited

About Eagleeyes

  • Rank
    10+ Post Club


  • Location
  • Country

Recent Profile Visitors

986 profile views

Display Name History

  1. is this for sale still if so i am in perth and interested?
  2. Item: Unused Wadia 170i Transport and Cambridge Audio Upsampling Dac Magic D/A Convertor Location: Perth Price: 700 for both. Half price Both were about 700 new each so total $1470 give or take and as new and never ever used. Item Condition: Wadia Perfect- Dac Magic had some tiny scratched from rack on top Reason for selling: Upgrading Payment Method: Pickup - Cash, Paypal, COD Only very light to post ir required Australia aiwde Extra Info: Have matching Cambridge Audio AZur DacMajic D/A Convertor Loads of info online 6 moons report at 460 Euros for WADIA transport and i have iPhone 6/ 7 adaptor for dock so works with any apple iphone or ipod This review first appeared in the issue of fairaudio.de and can be read in its original German version here. It is herewith translated and presented to an English-only audience through a mutual syndication arrangement with fairaudio.de. As is customary for our own reviews, the writer's signature at review's end has a link below it to his e-mail should you have questions or feedback you wish to send. All images contained in this review are the property of fairaudio.de or Wadia. - Ed. Reviewer: Jörg Dames Source: Audiomeca Obsession II, Fonel Simplicité, Benchmark DAC1 USB HE Amplification: pre/power - Fonel Emotion; Funk LAP-2.V2; Myryad MXP2000/MXA2150; Trigon TRV100; integrated - Accuphase E212; Lua 4040C Loudspeaker: Thiel CS 2.4, Sehring S 703 SE, Audiaz ETA Cables: low-level - Straight Wire Virtuoso; high-level - HMS Fortissimo, Reson LSC 350, Ortofon SPK 500, Atlas (Bi-Wiring) Review component retail: €459 Where to today? No worries, we're not eyeing heavyweight subjects. Just hifi. Two-channel in fact, not exactly a topic rife with breakthroughs. Nor do I imagine their numbers legions, those who at present lustfully eye a better CD player. The change of the guard, to hard-disc playback via uncompressed files, is in swift progress. That's no novelty neither. Arguably more exciting is which concept exactly will finally gain the upper hand. The theme 'streaming' by now is quite established. But a brief overview (no completeness implied) seems practical before we segue into Wadia's 170i transport: - There are fully integrated user-friendly solutions like Naim's HDX which extract CD data from their own drive to hard disc, handle automatic backups, include Internet access to grab meta data and make the creation of and access to a personal music library highly intuitive. Such solutions tend to come at a price however and the fact that hard disc, read drive, D/A converter and access software are all bundled together could be a deterrent for 'hackers' and those wanting to experiment. - Somewhat tweakier is accomplishing the above on one's pre-existing computer. Data storage is handled by mostly free but occasionally specialized software and merely the streaming receipt and conversion of playback files is handled by specific hardware clients such as a Squeeze-Box or Transporter. To set up such a home music network isn't rocket science but often more involved than basic plug & play. A future review will investigate one such solution. - Plug in and run is possible via computer without excessive hardware or money. Enter the USB DAC and of course a PC loaded with the requisite software to sort, access and manage music files (such as the flexible, low-memory Foobar player) and extract files (i.e. EAC). Sonics can be good but are directly related to the quality of the D/A converter. Further tweaking might involve downloading and installing the ASIO driver (to bypass the Windows-embedded but sonically compromised K-Mixer). ASIO by the way was developed by the German studio software writers at Steinberg and is used by music creators to minimize latencies (the time offset between input and output signal, irrelevant during playback). Certain converters are preloaded with specific ASIO drivers such as the Weiss Minerva and Digigram's VXpocket v2. Whether ASIO really is sonically superior is debatable. We'll weigh in with personal experiences in due time. You might wonder how any of this relates to today's tester, Wadia's iDock. Isn't that merely a gizmo to get somewhat respectable performance from the iPod while interfacing it with the resident hifi? True, but -- we'll tip our hand early -- once partnered with a quality converter, one goes well past respectable. This opens the door to very serious consideration of using just such an iPod/DAC combo for a grown-up high-end system. Conceptuals To be clear from the start, the Wadia 170i transport includes no D/A converter. The special feature here simply is direct access to the iPod's files in the digital domain (just what models are compatible can be found under 'facts' at review's end). This bypasses Apple's compromised internal DAC. Why more such devices aren't presently available isn't due to lack of know-how but licensing. Apple is selective. Wadia seems first in line to have been granted a license. To return to an earlier paragraph, besides serious sonic potential, this concept includes further advantages which make it very interesting. There's the obvious, getting a quasi two-in-one system. The ripped music data are portable for jogging and at home in the classy big rig. This includes convenience. The Wadia 10i has remote control. All this bypasses tweak necessity and computer savvy. This is a pure plug & play affair (while running the free, easily installed and configured iTunes software). Data synchronization between iPod and PC also automates essential file backups. And because the platform is open -- you choose the D/A converter and ripper software -- even liberal experimenters won't feel fenced in. By the way, there's a different socket interface or cradle for each iPod model included with the Wadia dock [see inset above]. Things aren't quite as liberal when one gets to data formats. For lossless, there's merely WAV and Apple's proprietary Apple Lossless. The latter's tighter packing -- similar to Zip schemes -- uses up to 50% less storage but retains 100% of the original's WAV bits. The equivalent and popular FLAC format is sadly not supported. No applause on that point. But your music collection still won't be straight-jacketed with iTunes. Apple Lossless is easily reconverted to WAV. And available storage here is no concern. The iPod Classic offers 160GB to support ca. 450 – 500 complete music album in Apple Lossless. iTunes quickie... ... on proper file conversion since the necessary commands are somewhat hidden. To convert WAV files ripped to PC into Apple Lossless, go to Bearbeiten in the tool bar, then pull down Einstellungen. This opens the following window. Now click on Importeinstellungen. Under Importieren, select Apple Lossless Codierer (in the other direction, WAV Codierer) and hit OK. Next use drag 'n' drop to move the desired songs into the proper list, select them and right-click. In the command window, pick Apple Lossless Version erstellen (or WAV Version erstellen in the other direction.) Play! You couldn't simplify things more. Hook up your digital cable between Wadia 170i and external converter (in our case a Benchmark DAC1 USB for 1.298 euros), connect to wall power and plunk iPod in the cradle. The latter operates normal (iPod nano G1 and iPod video excepted) or via Wadia's included remote. Or should - operate normal. In my case, things were mute at first. Quite silly. No display confirmation on the Wadia dock, no action of any sort on the iPod's display. They didn't seem to communicate. As I was told, this lack of visual confirmation is normal. Not even the small slot on the 170i's fascia houses an LED as might be assumed. This is bad only during failure diagnostics should things not shake hands rights away. You're flying blind as it were. In case of trouble, it's recommended to power down Wadia's dock just like a computer reboot. Which I did even though, as it turned out, the 170i had been innocent all along. My digital cable suffered poor continuity. Argh. So I leashed things up with the included digital link and any anticipated cable-swap dreams evaporated. As comparator, I used Fonel's formidable €2.850 Simplicité whose sound I remembered distinctly when the Wadia/iPod duo first kicked into gear. Surprise! Particularly in matters of transparency and fine resolution, there were notable differences. In the iPod combo's favor I might add, most overt from the midrange on up. Particularly in the higher bands, there was plainly more detail, extension and openness. In short, it sounded more accurate, less veiled and more intelligible. Unexpected that. Fonel's CD player is most certainly no slouch here. Depending on taste and ancillaries, such accuracy could veer into the 'non-musical' as it did during a friend's impulse visit. No card-carrying hifi fan, he listened to the equally resolute Thiel CS 2.4 and found the results a bit overdone, preferring the more laid-back CD player. Moi -- and I'm admittedly sweating while saying so -- I, cough, preferred the iPod combo particularly on 'smoother' speakers like Sehring's S703SE. To my ears, there was more resolution which even over the Thiels didn't strike me as analytical. So where's the line between highly resolved and analytical? I say analytical when due to resolution, so much detail is presented that context and tone body dissolve and small things are extricated from the flow and sensibility to be practically counted off on a silver tablet. But that's not what the Apple/Wadia source did. Be it the overt sibilance in Peter Gabriel's "Sledgehammer" [So] or the crucial rattle in Tom Waits' "Such a Scream" [Bone Machine], I didn't react to discrete elements as denuded in isolation, without body but effort. Rather, these items were more finely filigreed. Granted, we're not talking romantically golden. No question about that. But there's more - image lock and contours whereby individual performers are assigned their place on stage. Naturally, there are different preferences but I enjoy when spatial depiction is highly accurate. And here too the iPod combo edged out the Fonel Simplicité which is already very strong here. It became downright fascinating how, in the symphonically arranged "Song Praxis" by In The Nursery, the bass drums appeared punchy but cleanly outlined between the speaker, or how the Western guitar of Angus and Julia Stone's title track "Silver Coin" (a tip for lovers of fragile vocals accompanied by various acoustical instruments) showed up live and in true scale in my room. To reiterate a key point you'll have anticipated, it's of course not correct to refer to the iPod/Wadia duo since really, it's a trio which serves up the music. That being the case, it's only logical that the quality of the external D/A converter would be paramount to the final sound quality. Regardless, the iPod/Wadia transport combo does not seem a bottle neck or limiting factor. Not a gram of fat and transparent into the very tips of the hairs - that's how I'd nut-shell the sound of the Benchmark converter. And the bit supplier team of iPod/Wadia caused no disturbances whatever. Interestingly -- and I'm expecting reader email insisting on the impossibility since bits are bits -- I find Apple Lossless in the upper ranges a bit more silvery or less relaxed than raw WAV files. To avoid misapprehensions, even over highly resolved gear, this is rather subtle but nonetheless audible. So I'm curious about your findings. Conclusion For me, the teaming of an outboard D/A converter with the 'transport' of Apple iPod and Wadia 170i is clearly a very viable solution with true high-end potential and undoubtedly fit for rather more than just rendering the iPod listenable. Obviously, just how good your converter is will be vital in this context. If assembled appropriately, such a trio is a solid alternative to establishing a high-quality grown-up hard-disc base in the resident hifi system, even for those who take pride in the pointiest of ears. Further attractions are the easy installation and intuitive use. Even computer grumps won't feel put off. Facts: - Product: Wadia 170iTransport with adaptor all current iphone models 6 and 7 etc - Supported iPod models: iPod Classic (160GB | 180GB), iPod touch (8GB | 16GB | 32 GB) iPod nano 1.Generation (1GB | 2 GB | 4GB), iPod nano 2. Generation (2GB | 4GB | 8GB), iPod nano 3.Generation - Video - (4GB | 8GB), iPod 5.Generation -Video – (30GB | 60GB | 80GB) - Concept: Docking station to access digital data from an iPod - Dimensions: 20,32×6,86×20,32cm (W×H×D) - Weight 1,1kg - Other: Analog RCA outputs, video sockets - Wadia website Absolute sounds review As great a product as the iPod is—and it is truly spectacular—it has an Achilles’ heel for discriminating listeners: its digital-to-analog converter and analog output stage. The iPod’s D/A converter and output amplifier are by necessity sonically compromised, restricting the iPod’s usefulness. No serious listener would use an iPod at the front end of a high-end system. That’s a shame, because the iPod is a brilliant device in its functionality, execution, and user interface. It can also store hundreds of hours of music with perfect bit-for-bit accuracy to the source. Leave it to Wadia Digital to create a product that capitalizes on the iPod’s strengths while completely eliminating the sonic shortcomings that have relegated it to ancillary listening environments. That product is the 170 iTransport, the first Apple-sanctioned dock to tap into the iPod’s digital bitstream and present that bitstream to an outboard digital-to-analog converter of your choice. The iTransport allows you, for the first time, to bring the iPod’s functionality to a high-end system with no excuses— The 170 iTransport looks like a traditional Wadia product in miniature, all the way down to its pointed feet. The flat top surface holds the docking connector, which accepts all iPod models courtesy of a supplied variety of dock inserts. The rear panel presents the iPod’s digital output in S/PDIF format on an RCA jack. You simply connect this output to any outboard D/A converter and the iPod’s sound quality is now determined by the quality of that D/A converter. For those of you without an external D/A converter, the iTransport offers analog outputs. Note that the iTransport doesn’t have an internal DAC; rather, the iTransport simply routes the iPod’s analog outputs to the iTransport’s rear-panel jacks. For those with video iPods, the iTransport offers S-video and component-video outputs. An external power supply plugs into a rear-panel jack. Controlling the iPod via its click-wheel is made easier by the open iPod-mounting design (iPod docking stations in which the iPod is flush-mounted make operating the click-wheel difficult). With certain iPod models (Nano G1, iPod Video), the click-wheel interface is disabled when inserted into the iTransport, and a small supplied remote control provides basic functions, such as track forward/backward and pause/play. The iTransport was extremely simple to set up and use. I unpacked it, popped in my iPod Classic, and was listening to music within two minutes of opening the box. As expected, the iTransport sounded like the DAC to which it was connected. I store music on my iPod using Apple Lossless, which provides perfect bit-for-bit accuracy to the original with about a 40% reduction in storage requirements compared with uncompressed WAV files. In listening comparisons between the iTransport and the CDs from which the music was ripped, I thought the iTransport had a slight advantage. The iTransport had just a bit more space, bloom, and ambience than the CD. The recorded acoustic was slightly bigger, the spatial perspective was a bit more distant, and the sense of air surrounding instrumental images was somewhat more tangible and defined. The differences were slight, but noticeable. This impression is consistent with what I’ve heard when comparing music on CD with the same music read from a hard-disk drive (see my reviews of the Qsonix and Sooloos music servers in Issue 177). The iTransport’s slightly-better-than-CD sound quality is a bonus; the real reason to buy the iTransport is that it turns your iPod (which you probably already own) into a music server worthy of feeding a high-end system. Anyone who’s used the iPod knows how much easier it is to access music using the click-wheel than finding the CD and inserting it in a player. It equates to more time listening and less time looking through racks of jewel boxes. The Wadia iTransport is the coolest product I’ve encountered in some time. If you own an iPod, an outboard DAC, and a high-end system, the iTransport is, essential. Cambridge Audio Stereophile Cambridge Audio Azur DacMagic D/A converter Sam Tellig | May 29, 2009 | First Published: Mar 1, 2009 In 1989, Cambridge Audio, then run by Stan Curtis—who is still active in hi-fi— introduced their DAC 1. At about the same time, within a few weeks of each other, Arcam introduced their Delta Black Box and Musical Fidelity their Digilog. I forget who was first among the three. Arcam, I think. But the DAC race was on, led by the British. (There was even a DAC called the Dacula.) US companies got into the DAC race, too—at higher prices, of course. At the time, there were almost no high-end CD players. Many audiophiles chose Philips/Magnavox models that had been modified by boutique kludgemeisters. It turned out that lavishing four or five hours of labor on a $149 frog to turn it into a $499 prince was not a sustainable business model. Once outboard DACs and upmarket CD players became available, modified players largely disappeared. Today, Cambridge Audio is based in London, and their stuff is made in China at factories owned or controlled by Cambridge Audio, which in turn is part of The Audio Partnership, controlled by Julian Richer, who got richer than Croesus with Richer Sounds, said to be the UK's single most successful audio retailer in terms of revenue per square foot. And—my goodness—he did it by offering value. I visited the design headquarters of Cambridge Audio in London several years ago and met their technical director, Matthew Bramble, who used to work for another well-known British hi-fi manufacturer; now Bramble is a thorn in their side. That Bramble likes to ramble is proven by the 105-page instruction manual for the Cambridge Audio DacMagic. In fairness, this is because the manual is in three languages (but why not Russian?). It's filled with things you don't need to know and that probably interest only John Atkinson. I bet the manual scares away some customers; it shouldn't. Operation of the DacMagic is as intuitive and straightforward as can be. Ergonomically, this little bugger is brilliant: 8.6" (215mm) high by 2" (52mm) wide by 7.6" (191mm) deep when you place it on end on its rubbery bed. It weighs just 2.65 lbs (1.2kg). Squeeze it in next to your Slim Devices Squeezebox. Or your Sony PlayStation 3. One reason it takes up so little space is that it comes with a humongous wall-wart power supply so big it could conceivably fall out of a loose socket. IKEA carries some nice, small power strips, and there are other accessories for dealing with awkward wall warts. I'd beware of power strips and conditioners, however, which, in my experience, are as likely to screw up as enhance the sound. I can imagine some British entrepreneurs offering alternative power supplies for the DacMagic. There's an On/Off switch, but the DacMagic sounds much better when left powered up most of the time. (Do turn it and the rest of your hi-fi off when you leave for a weekend or a vacation, and when electrical storms are forecast.) The DacMagic has a suggested selling price of $449. That allows Audio Advisor to sell it for $399 and "save" you $50. When you consider that, 20 years ago, one of the first DACs, the Musical Fidelity Digilog, sold for $995, this is a fantastic bargain. (I calculated that I could save more than $16,500 by buying every product in a recent Audio Advisor catalog. Hallelujah! I'm rich!) The DacMagic features the Adaptive Time Filtering (ATF) process, which Cambridge licenses from Anagram Technologies of Switzerland. ATF is built around a 32-bit Texas Instruments digital signal processor that "upsamples" the signal fed to it. Upsampling creates additional digital data points out of thin air. They're not real, of course—except that they are. (I love to razz JA about this upsampling business.) The DacMagic upsamples to 24 bits/192kHz any incoming sample rate at 16 or 24 bits of resolution and from 32 to 96kHz. The D/A chips are the same Wolfson WMB8740 24-bit DACs used in Cambridge Audio's Azur 740C and 840C CD players. Two per channel operate in dual-differential mode for maximum noise reduction. You can run the DacMagic from its balanced XLR analog outputs into a balanced preamp and power amp for maximum noise cancellation. There's also a pair of RCA outs, for unbalanced types like me. The DacMagic also features a phase-inversion button. It would be great to have this accessible from the remote control. But wait—there is no remote. Oh, well. A child might be trained and pressed into service. Two digital inputs allow a choice of connection via S/PDIF coaxial or TosLink optical. And there's a USB input for use with a computer or a networked music source. The rear panel of the DacMagic is almost as crowded as my shaving shelf. It also includes S/PDIF coaxial and TosLink optical digital outputs for connecting to a digital recording device; these do nothing to the incoming digital signal, but simply pass it through. If you keep reading the instruction manual, your eyes, if they don't glaze over, will come to a long discussion of the three different analog filter modes: Linear Phase, Minimum Phase, and Steep. I wonder how many potential users will be scared away by Bramblearia. Actually, selecting the filters is simple: just tap the Phase button quickly (if you hold it down, the DacMagic reverses phase). Front-panel LEDs indicate the filter type selected. You may want to stick with Linear Phase as your default. The technical advantage here is no phase shift within the audioband, and a sharp rolloff at about half the sampling frequency. Minimum Phase does almost the same thing and sounds, to me, virtually identical. An interesting alternative is the Steep filter, which is like Linear Phase but with a steeper rolloff above 20kHz. Steep is said to attenuate aliasing at 22kHz by 80dB. But there's no free lunch; Steep adds a small amount of passband ripple. So pick your poison: aliasing or passband ripple. Already your eyes have glazed over, and you don't even own the thing. I tried switching between Linear Phase and Steep, playing one movement of a symphony straight through using each. (I had no child handy to act as remote control, and Marina was off watching one of her Russian prime-time serials.) Linear Phase gave a lighter, airier, more transparent sound, with extended highs and better-defined bass. Steep attenuated the highs in comparison, taming the top end of some more aggressive recordings, but bass definition and overall clarity suffered. The sound was more blended, slightly congested—something I noticed more with symphonic recordings than with string quartets. As for Minimum Phase, I didn't hear it do anything that Linear Phase didn't do. Other than that, I've so far avoided the subject of how the DacMagic sounded. In a word, it sounded glorious—far better than you have any right to expect for 400 bucks. Especially in Linear Phase, I heard well-defined bass, exquisitely extended highs, and a natural midrange. The soundstage was admirably wide, and soloists and their instruments were precisely positioned. What more do you want? Well, you might ask for an even wider, deeper soundstage and more gut-wrenching bass. It's possible that power-supply limitations kick in here, but for $400, who's complaining? And you might wish that if Cambridge (or someone) does offer an optional kick-ass power supply, it doesn't have to hang from a wall socket. And a remote control would be nice. If you're looking for the romance of tubes, that's not on offer here. Try the DacMagic with a tubed line stage. I thought that Musical Fidelity's X-10DV3tube buffer might work wonders. After all, Bramble used to ramble at MF. I have one of these. I put the X-10DV3 between the DacMagic and the LFD NCSE integrated amplifier. I got tube warmth in spades, but with more than a slight loss of transparency, which shows how resolving the DacMagic is. You probably own an older, sturdier CD player that will do jim-dandy as a transport with the DacMagic. I used a Marantz CD63 SE that's almost 15 years old. Digital cable was Analysis Plus Oval (which I recommended last October). If you have a really great CD player—such as Cambridge Audio's own 740C or 840C or Cary Audio's CDP 1—you're probably looking at a sideways change in sound, at best. Enjoy what you have. Meanwhile, I'm keeping the Cambridge Audio DacMagic. Sidebar 1: Specifications Description: Two-channel, oversampling D/A processor with Wolfson WM8740 24-bit DACs and Texas Instruments TMS 320VC5501 digital filter. Digital inputs: S/PDIF coaxial or TosLink optical, USB. Digital input sampling frequencies supported 44.1kHz, 48kHz (32kHz, 88.2kHz, 96kHz, S/PDIF only). Digital outputs: S/PDIF coaxial and TosLink optical. Analog outputs: balanced (XLR), single-ended (RCA). Frequency response: 20Hz to 20kHz ±0.1dB. THD (1kHz, 0dBFS, 24-bit data): <0.001%. S/N Ratio: 112dB. Total correlated jitter: <130ps. Channel separation: >100dB at 1kHz, >90dB at 20kHz. Output impedance: <50ohms. Maximum output level: 2.1V RMS (unbalanced), 4.2V RMS (balanced). Dimensions: 2" (52mm) H by 8.6" (215mm) W by 7.6" (191mm) D. Weight: 2.6lbs (1.2kg). Read more at https://www.stereophile.com/content/cambridge-audio-azur-dacmagic-da-converter-specifications#EuU8jGKZu0xDutGJ.99 Pictures:
  3. I will take all 3 sets if that's makes it easier
  4. Item: Tom Evans Groove 20th Anniversary Edition with external PSU Location: PERTH Price: $2400 pounds http://www.audiodesign-store.co.uk/rapidcart new $4100 approx Australian. Sell for $3200 still listed new for sale. Item Condition: Almost Brand new apart from surface scratched on top, less than 20 hours use. Reason for selling: Changing Direction Payment Method: Pickup - Cash, Paypal, COD Only, very light so postage very low, comes with very minimal, Tom Evans literature. Extra Info:http://www.sorasound.com/products/tom-evans/ Many of our customers use Tom Evans Audio Design phono stages. All sound great. These units are priced fairly, carrying a lot of value to audiophiles. All our customers think highly of Tom’s products. So, I decided to represent Tom and offer his great products to you. Tom is a very nice man, with two kids. He began his electronics career in defense industry. In 1989 he went back to his first professional love, building high quality and great sounding hi-fi gear. Tom always has time for his representatives and customers, explaining all the details of his products in detail. He takes great pride in his name and the products he produces. Tom’s Hi-Fi gears are so good that he called them Tom Evans Audio Design. Tom Evans manufactures phono stages, preamps, power amps and speakers. Most information below is copied from Tom Evans Audio Design website by permission. Review below is by a customer of ours Mr. Paul Folbrecht. “I’ve been using a Tom Evans Audio Design Microgroove +X for about the last three months. I consider it to be my last phono stage. (I hope I’m serious this time, and three months is a long time to go without having any desire for something better or different – at least for me.)Discovering Tom Evans gear was a bit of a revelation for me, that began last year. I had read of it but never heard it – after all, it’s not very easy to hear (the phono stages are easier to come across than the Vibe/Pulse and the Linear A). I started with a used Linear A, and was very impressed with that piece: it had an uncanny ability to unravel detail (including microdynamics) against an absolutely black background, and was spectacularly “fast” and extended as well. Of course, those things in itself are not too mean a trick – a lot of good (solid-state) gear can do that. But what the Linear A did that did set it apart was being as fast, quiet, and detailed while simultaneously having *full* tonal saturation and *never* sounding the slightest bit edgy, or bright. I then added a Vibe/Pulse (Lithos 7 version, bought used from the same dealer) – and it made an even bigger difference to the system (over the highly-regarded tube line stage I had been using). It was the Vibe/Pulse that was really a game-changing piece of equipment for me: a blackground blacker than I had ever heard before, with quite stunning macro dynamics, and full and complete tonal saturation with a lovely, perfectly smooth and rich midrange and treble. After using it for several months, any tubed preamp was just too slow and veiled for me. Prior to that point, I had never found a solid-state preamp I preferred to even a mediocre valved unit. I’m not saying they’re not out there – I’m sure very prices MBL and other solid-state gear can pull of proper tonal saturation without being edgy – but I do believe it is generally VERY expensive to do it. At this point I decided I wanted to go “the full monty” with a Tom Evans phono stage and that I should buy a new piece to support the company. I decided on the middle-of-the-read Microgroove + X after reading reviews. (I have seriously toyed with abandoning vinyl altogether, and done so for short periods, so I didn’t think a greater expense was warranted.) I placed the order through local dealer SORAsound (great to deal with) and received the unit after only a few weeks. After being plugged-in for only a few hours, the unit’s potential was evident, but it did seem to take a few days to display what it’s really capable of. Once it had settled down, I was quite thrilled, and amazed – it really exceeded my expectations. It was the signature Tom Evans sound – fast, neutral, completely extended, but tonally pure and harmonically complete, with perfect balance – to an even higher degree. (After all, the line stage is providing something like 12 dB of gain while the phono stage is at around 70 dB! I guess it’s hard to argue that the phono stage is not the most important part of a vinyl amplification chain.) My analog setup is a Basis Ovation table, early TriPlanar arm, and Ortofon Rondo Red cartridge. (Yes, the cart is the bottleneck there in terms of cost, but it doesn’t really sound like it!) I had on-hand with the Microgroove +X a well-regarded tubed phono stage (with SUTs for the MC gain stage) that retails for about $6000 (almost three times the TE’s price). The tubed unit was also *very* good, and they were surprisingly close not only in overall performance but in sonics, but I did end up preferring the Microgroove. It had a substantially lower noise floor and was audibly more extended, although the tubed unit was very good in both regards too. The tubed unit was more “lush” in the midrange but I came to see that as a coloration and preferred good recordings without it. That’s about it. Like most Tom Evans gear, it doesn’t really look like it’s worth the asking price and it’s so light that thick interconnects can lift it, but, well, who cares. Tom is, I think, proud of the fact that he refused to market “audio jewelry”, and isn’t it more sensible to put the money where it counts? (I’ve come to like the understated but purposeful aesthetic of the Vibe, but the Microgroove is so tiny I hide it behind the platform the line stage is on anyway.)” Phono Stages Tom Evans Audio Design phono stages include: The Microgroove ($1,050) uses high grade silicon. The signal path is DC coupled. Built as a steereo amp powered by by standard industry voltage regulators. Like all Tom Evans phono stages, Microgroove can be configured to suit any moving coil or moving magnet cartridge. Great entry level phono stage upgradable to The Plus. The Microgroove x ($1,192). The Microgroove plus ($2,100) is a stereo phono-amp that has one of Tom Evans’ Lithos 7 Class A regulators in place of the standard industry regulators. This improves the sound significantly, lowers the hoise floor, faster risting and falling edges of notes highlighting the spaces between them. John Cage would have had a hay day. The Groove ($4,000). This dual mono phono-amp uses one Lithos 7 regulator per side to supply power to each mono signal path p.c.b. All resistors are Holco precision metal film. All silicon is premium grade. The regulators are powered by a dual mono mains power supply. Since its launch in the UK, it has become the industry standard. The Groove can be upgraded to the Plus spec. The Groove x ($4,725). The Groove plus ($7,600). In this design the mains pcb has been replaced by the Lithos 6, a complex class A regulator (as used in the pulse power supply). Its outputs then feed the dual mono Lithos 7’s on the signal pcb’s. The external mains supply box contains a 70 watt transformer designed and manufactured in house. This transformer has an electrostatic screen to remove any R.F. noise, then rectified, smoothed, and regulated before leaving the box and heading for Lithos 6. The ultra low noise and distortion of this product provide audiophiles with the greatest possible dynamic range and resolution available. The Groove+ SRX ($8,900) has adjustable load and gain. The Groove+ SRX,in addition to the loading pcb has a front end gain stage that has 50% less noise and distortion than the Groove and Groove+. Upgrade of Microgroove to Groove Plus ($4,600). Tom Evans has been making his Groove phono stages for some time now, the anniversary in this particular model’s name refers to 20 years of them and that occurred in 2010. Having been there at the start with the Michell Iso, which was effectively the first Groove and shared the black acrylic case that continues today, it doesn’t seem like 25 years but you can’t argue with a calendar. Tom’s shtick is that the best way to achieve true high resolution with vinyl is to lower the noise floor on the phono stage, the quieter this crucial part of the amplification chain is the wider the bandwidth and the more you will be able to hear. He advocates spending more, a lot more on the phono stage than the cartridge because no matter how good a cartridge is if the amplifier is noisy you won’t be able to hear what it’s doing. I have to agree, in fact I once took an Audio Note Japan stage (about £2.5k at the time) to a friends house who had a £60 moving magnet on his Thorens turntable, the improvement was staggering, the extra resolution revealed more music than you would imagine a modest front end could produce. The reason for this is the level of gain that a phono stage has to apply to the signal in order to bring it up to a level that a regular amplifier can work with, in the case of a moving coil cartridge it’s in the range of 600 times. Which means that any noise in the gain stage is amplified by this amount as well, so a good phono stage needs to be somewhat quieter than the apocryphal mouse. For the latest range of Groove phono stages Tom has upgraded the silicon that achieves this amplification to what he calls Lithos 7.4, this has prompted a MkII series across the five Groove stages in the range. What Lithos 7.4 has achieved in measurement terms is to reduce distortion and increase dynamic range compared to earlier models (existing Grooves can be upgraded to MkII). Tom likes to point out that dynamic range doubles and distortion halves as you move from one model to the next in the range, which would suggest that the entry level Micro Groove X is pretty noisy and distorted but I doubt that is the case. Not if the midrange Groove Anniversary is anything to go by at least, it is I suspect the quietest phono stage I have ever used but it’s far from the most expensive. The other change brought about by the move to MkII is the introduction of adjustable impedance, previous Grooves have been factory set at one impedance and while you could specify what this was it was a bit limiting if you changed cartridge. Now there are dipswitches on the back panel that are relatively easy to access; some stages have them inside, others underneath. Here there are eight switches in parallel that have an inverse logic to their operation, the more you turn on the lower the impedance, so switching them all on gives 112 Ohms, all off 1kOhm, with seven steps in between. Once you have grasped the basic tenet of the approach it’s easy to experiment with loading, and surprisingly easy to figure out which gives the best result once you start listening to the timing and the interplay of musicians. With the Rega Apheta 2 (on a Rega RP10) which specifies 100 Ohm loading experimentation revealed that the Groove Anniversary’s 250 Ohm setting initially gave the best leading edge definition, power and cohesion of the various instruments on Tom Waits’ Swordfishtrombones (Asylum). The track ‘Underground’ has some superb musicianship and this stage makes each player’s contribution easy to follow whilst presenting the ensemble as a perfectly integrated whole. You can appreciate the timbre of the heavy tympani and the tiny sound of a plucked ukulele, not forgetting the glorious vibe playing of Victor Feldman. The space created by reverb on the following track ‘Shore Leave’ is massively evocative as is the percussion and terrific guitar break, all of which is presented in a full width image that breaks the outer bounds of the loudspeakers. I put on Burnt Friedmann and Jaki Leibzeit’s Just Landed (Nonplace) for a bit of low end action and found myself enjoying the tune rather than the sensation of having my internal organs vibrated. Here the emphasis was on the sound of the instruments and the melody rather than the crunch, which made me wonder whether the higher than recommended loading might be affecting the balance. This turned out to be the case, the higher the load (on this cartridge at least) the less low end power it delivers but the faster the transient edges. Experimentation with a few other bass strong records made a case for bringing it down to the 200 Ohm setting. It’s nice to have such close alternatives. With the finesse of Jocelyn B Smith’s direct to disc cut Honest Song (Berliner Meister Schallplatten) the quietness of the Groove is made obvious by the way finger clicks are so clear in the background of piano and voice. The ‘air’ around the cymbals and the singer’s breath on the mic coalesce with the music to present a degree of realism that’s rare. Cymbal work is notable on a number of pieces and reveals an unusual degree of transparency but don’t get the impression that this is a lightweight filigree specialist. When the rhythm section on Patricia Barber’s ‘Company’ (Modern Cool, Premonition) gets going you know all about the power and pace. The double bass has a physical presence that is palpable but does not smear the voice and the acoustic it’s recorded in. reviewed a valve powered phono stage from a well regarded brand during the Groove’s tenure and made the mistake of comparing them. The result did not favour the valve stage one bit, making it sound noisy, smeared in timing terms and lacking in transparency. Valves cannot hope to be as quiet as transistors but people value the tonal richness they bring, I prefer to hear what’s on the record, the actual sound of the voices and instruments rather than what in photographic terms sounds like saturation. I also like the natural way that the Groove presents imaging, every record you play has a slightly different character which seems to be a logical result of the variations in recording venue and technique. Take Leo Kottke’s Great Big Boy (Private Music) as an example, this is an acoustic guitar led band with voice that has an awful lot going on on tracks like ‘Jumps Up Running’. I’ve played this many times but had not been previously aware of the keyboard line, the Groove cleans up the background and brings a coherence to dense mixes that lets you hear right into them. It prompted me to listen longer and louder than I have for some time with this particular record, remember just what a great musician Kottke is thanks to the Groove’s its remarkably light touch. Forget your Vendetta Research and Audio Research preamps, they may have legendary status but technology moves on and today’s silicon is infinitely quieter than it was only five years ago, which means you can hear more music and less electronic intrusion through it. The latest Groove Anniversary is a goalpost moving phono stage that digs deeper into the signal and reveals so much detail across the board that you can hear right into the layers of multitrack recordings. It still doesn’t help the musically inept like myself establish the time signature of Steely Dan’s ‘Show Biz Kids’ (Countdown to Ecstasy, ABC) but it lets you hear how each of the instruments in the mix was played and the irony of the lyrics. Calm is the good word when describing the Groove, it takes everything in its stride and no matter how dense the material never seems to struggle. It’s a very low distortion conduit to the musical joy that vinyl offers. It won’t turn mediocre recordings into amazing ones but it will let you hear more of what has gone on in the studio or on the stage when they were made. It gets you closer to that place in time and space where the magic happened. The only disconcerting thing is that there are several better stages in the Tom Evans Audio Design range, you have to wonder if there are enough superlatives to go round? SPECIFICATIONS: Resistance settings: 112, 126, 144, 168, 200, 250, 333, 500, 1000 Ohm Capacitor settings: 100, 200, 300, 400, 500pF Gain to suit cartridges with between 0.2mV to 0.6mV output (or custom to order) Dual mono layout, dual Lithos 7.4 local regulators Acrylic casework Size HxWxD: 88 x 330 x 185mm Weight: 2kg + power supply PRICE: £2,400 MANUFACTURER DETAILS: Tom Evans Audio Design T 01443 833570 www.audiodesign.co.uk http://www.audiodesign-store.co.uk/rapidcart Pictures:
  5. Could you use this for front channels and bridge to a 5 channel version and use back 3 channels for ht so you would use two channels on this and first two channels on 5 channel as mono power and then last 3 as power so ht on receiver - Sounds confusing just idea?
  6. thank you
  7. Item: dynavector 10x5 Moving coil high out cartridge. Location: Perth Price: 725 Item Condition: brand new unopened Reason for selling: unused as thought existing cart was damaged but isn't. Payment Method: normal pickup - Cash, Paypal, COD or ship and courier Extra Info: Brand new. Unused store stock Stereophile Recommended Component The latest in Dynavector's entry-level series, the high output 10x5 moving -coil proved "ridiculously good for the money." Hifi World Review The most musical cartridge at or near its price, the baby Dynavector is a classic budget audiophile product. - For more than 30 years Dynavector's Moving Coil cartridges have continuously enjoyed worldwide acclaim due to a combination of innovative design, advanced production techniques and an unwavering commitment to the musical source. Over the same period many new formats such as Compact Disc, MP3, SACD and DVDA have come to dominate music reproduction. However many audiophiles consider that these digital mediums leave much to be desired when compared to analogue recordings. Consumers and the recording companies remain confused as to which digital medium will become the standard and in the meantime the vast heritage of recorded music, spanning almost a century, is placed in jeopardy. Fortunately Dynavector have never capitulated to the giant digital industry and have continued to refine their unique range of MC cartridges, providing music lovers with the highest standard of music reproduction that matches or surpasses any digital source. At any price point, the audiophile can be guaranteed that a Dynavector MC cartridge will both move and excite the listener to new heights of listening pleasure. A pleasure for many that comes only from a genuine analogue source. Dynavector 10X5 Details The Dynavector 10X series High Output Moving Coil cartridge debuted in 1978 winning the prestigious Design and Engineering Award at the Chicago CES in both 1978 and 1981. The 10X series cartridges are also widely accepted at the benchmark in High Output moving coil cartridge at this price point and beyond. With the introduction of the new 10X5 High Output moving coil there is no doubt Dynavector will retain this enviable position and again set the standard for high output moving coil cartridges. Improvements to the Latest 10X5 The 10X5 now features Dynavector's unique magnetic flux damping and softened magnetism (patent) along with powerful Neodymium magnet that combine to eliminate any hardness or irritating edginess that commonly occurs in many moving coil cartridges. Dynavector are also renowned for the capability of winding the finest coil assemblies. This has enabled them to minutely increase the coil wire diameter of the 10X5 to achieve a reduction of impedance to 150 ohms whilst retaining a healthy 2.5mV output. This also ensures both a rugged and reliable circuitry. The 10X5 also features a newly designed Aluminium head block with M2.5 thread to provide a rigid platform for the cartridge motor and secure fixing to the tonearm. User Manual Stereophile Review "The Dynavector 10x5 more than lives up to my memory of its predecessor. This colorful, well-balanced, chunky-sounding cartridge played music extremely well, with a bonus of very fine stereo imaging. In other words, it's a great all-arounder...The Dynavector 10x5 should give you most of what you need at a bargain price. Wildly, highly recommended." - Art Dudley, Stereophile Oct. 2003 tnt-audio "Bar none, I found the Dynavector to be the best overall cartridge that I have had the opportunity to hear to date, and a tremendous value to boot. I give the Dynavector DV-10x4 MKII my heartiest recommendation. In fact, I have been loath to invite my friend by for a listen. He may want his albums back!..." Techradar, Dynavector DV-10X5 review Precise sound for a bargain price The 10X5 is the least expensive cartridge in Japanese brand Dynavector's extensive range and its origins can be traced back to a time when vinyl ruled supreme (1978, to be specific). It has gone through five revisions since then, so is a more up-to-date design with an elliptical stylus and a more conventional downforce requirement for an MC of two grammes. 6th Street Bridge Review Even without any break-in, the Dynavector 10X5 shows itself to be a great performer. Music has color, vibrancy, dynamics and is now oh so much more fun to listen to. Listening to Supertramp's "Crime of the Century" revealed snarling guitars, deep rich bass and a wonderfully extended but clean treble. Instruments now had air around them and vocals had more definition. We listened to a few more discs - original pressings of Steely Dan, John Lee Hooker and Dire Straits - and reveled in the pure enjoyment of music. The 10X5 punches above it's price point with a quick detailed sound that doesn't get annoying. It is strange how the music sounds so fast but still has a warm natural rhythm and flow. From memory the overall sound reminds me of the original $99 Sumiko Blue Point of yore, but the 10X5 definitely has stronger bass and a more full bodied presence. A wallet-friendly option It has a strong 2.5mV output meaning you don't need a hyper-sensitive MC phono stage, making it more economical for those starting out on the vinyl path to sonic enlightenment. A forthcoming revision is said to include threaded inserts, which would greatly aid mounting, but as it stands it's difficult to set up. You have to use the supplied aluminium slot-head bolts and round nuts and there's no stylus guard for assurance. Vibrant Sounds Fortunately, it's worth the trouble (it wouldn't still be around if not) and is capable of producing a solid and precise soundstage with real weight and power. Tonally, it's very convincing too, managing to combine good detail resolution with a relaxed balance that's sensitive to timing without leaning on the leading edges. The lazy groove of Tom Waits' Swordfishtrombone sounds so right that it's hard to find the limitations unless you have something better on hand (the Ortofon Rondo Red reveals greater subtlety in the bass and a little more refinement). But the Dynavector makes up for this with vibrant dynamics and a great sense of timing that hooks you into the music. Pictures:just opened box for first time . Bought and changed mind as existing cart still works just covering as much of cost as possible.
  8. I can say you will not find a better unused one anywhere unless you buy from NAD new. 200 off today for quick sale as want to move on something else. The proverbial chase. Thanks Ads
  9. Item: NAD T 973 7 x 14 0watt Mono Channels Power Amplifier - BEAST Location: Perth Price: $ reduced for quick sale 1800 Aus. -EBAY USA has $1799 listing live now https://www.ebay.com/p/NAD-T973-7-Channel-Power-Amplifier/66778255 and still for sale in Uk for $1200 pounds https://www.hifix.co.uk/nad-t973-7-channel-power-amplifier-graphite Item Condition: Perfect Reason for selling: Changing System Payment Method: Pickup - Cash, Paypal plus Costs, COD Only Extra Info: PERFECT as new condition with less than 12 month use Can ship at buyers expense Heavy though at 31 kilos but pack and send etc would charge $100 approx to ship overeast.. From Nad and other sites, the fact this amp is still for sale after 6 years is testimony to its quality and its been in a box for 4 years unused. NAD has a well-deserved reputation for producing amplifiers with extraordinary performance and always at an affordable price. The T 973 keeps this tradition alive and well by applying 30 years of experience to the challenge of producing a high power, high performance, seven channel power amp able to provide the muscle required for even the most sophisticated Home Theatres save the power supply is fully independent, eliminating inter-channel in sequences as a concern. The T 973 employs active ground isolation to further eliminate any possibility of inter-channel interference even when more than one preamplifer is driving the power amp (as might be the case in a custom installation). Design As might be expected in an amplifier capable of one kilowatt (1,000 watts) of continuous power output, the power supply needs to be very carefully designed. As usual, NAD favours the toroidal transformer type for its superior regulation and low stray magnetic eld. Our exclusive “Holmgren” transformer uses a special core design and materials to enhance effeciency and make the transformer less sensitive to DC offsets on the AC mains voltage. Over 80,000 uF of storage capacitance ensure an ample reserve of power for even the most demanding music and lm soundtracks. THE t 973 empoys monoblock construction for each of its seven channels. Every element of each channel’s circuitry save the power supply is fully independent, eliminating inter-channel infuences as a concern. The T 973 employs active ground isolation to further eliminate any possibility of inter-channel interference even when more than one preampli er is driving the power amp (as might be the case in a custom installation). Each section features an FET Class A input and driver stage circuits, and a high-current output-stage design, employing high speed, high current discrete output devices to promulgate superb dynamic quality. The result is musical detail, impact, and soundstage stability and depth unmatched by multi-channel amps of even two and three times the T 973’s price. NAD’s proprietary Soft Clipping (defeatable) maintains sonic quality and offers speaker protection even under severe overdrive conditions. Individual gain adjustment for each channel promotes easy, accurate system configuration, as does the T 973’s integral 12V trigger turn-on response. This multi-channel ampli er delivers its output via heavy-duty “ ve-way” connectors. Ruggedness and in-system reliability are critical to successful custom-installed systems. This amplifer utilizes a combination of fuse and electronic nonintrusive protection: dependable, fail-safe, and sonically benign. Each channel is fully protected against excess temperature, DC fault, and loudspeaker short-circuit. PowerDriveTM The T 973 also bene ts from NAD’s proprietary PowerDrive circuit topology, now well established and used throughout the NAD product range notably, in the highly reviewed models such as the C 320BEE and C 370. The PowerDrive topology allows the T 973 to deliver maximum performance under virtually any circumstance, independent of the loudspeakers it is driving. The circuitry automatically senses the impedance characteristics of the loudspeaker and will then adjust its power supply settings to best cope with that speci c load. PowerDrive topology is a practical approach to enable an ampli er to easily deal with musical dynamics and dif cult speaker loads. Thus we have the highly desirable characteristics of high dynamic power and low impedance drive capability in one affordable package. NAD also takes a stand against the meaningless “brochure power” touted by many of our competitors by offering Full Disclosure power specs. We specify minimum continuous power, across the entire audible range of frequencies, at rated distortion, for both 8 and 4 ohms with all channels driven simultaneously. Perhaps even more importantly, we also specify Dynamic Power at 8, 4, and even 2 ohms, which better describes the way the ampli er will perform in the real world, with musical signals and reactive loudspeaker loads. But even the most carefully reported specs cannot fully describe the sonic performance of an amplifer. Only your own ears can really judge our achievement. We urge you to listen and compare NAD to other products in its price range, and even higher. We don’t think you’ll nd anything that comes close to offering the T 973’s overall musical satisfaction, well-rounded performance, and stellar value for money. Pictures:
  10. Item: DENON DVD 2500BT DEDICATED BLUE RAY OR DVD TRANSPORT Location: PERTH Price: $500 WAS $900 Pounds New or $2000 dollars approx locally from Surround Sounds Item Condition: VERY GOOD hardly used with couple of tiny surface scratches from rack. Less than 6 months actual use. Reason for selling: Not required. Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: Sensational quality dvd blue ray transport to go with very high end receiver. Was Partnered with Yamaha RXV 3800 and works perfectly. From 5 start review from what hifi -loads of other reviews online. The Denon DVD-2500BT is aimed squarely at dedicated home cinema enthusiasts. It doesn't have any analogue audio outputs, or even coaxial or optical digital sockets. If you want one, you'll need a multichannel amplifier or processor that can accept audio signals over HDMI and decode them appropriately. This includes Blu-ray's high-definition audio formats Dolby TrueHD and DTS-HD Master Audio. The Denon's premium credentials are immediately apparent. This beast bears little resemblance to the slimline players found at the budget end of the Blu-ray market. Not only does it benefit from almost bomb-proof build quality, but it's also stylish (in an industrial way), and has a usefully large display panel. But, of course, it's the performance that is of primary concern to us – and this is a sensational performer. HD images are incredible Thrown a copy of The Happening on Blu-ray, the '2500BT makes this most awful of films almost worth watching. Colours are amazingly natural, edges are razor-sharp, and motion is silky-smooth. What's more, it excels in detail, and that lends an extra degree of three-dimensionality to pictures, particularly outdoor scenery. When the action moves to the gloomier indoor scenes, the Denon produces great blacks, while having the the quality to offer insight into the darkest of corners. The '2500BT also upscales standard-defintion DVDs to 1080p in scintillating style, with Training Day appearing as sharp, detailed and vibrant as we're used to from the very best standalone DVD players. These incredible pictures are complemented by an exceptional sonic delivery. Whether the '2500BT is streaming HD Audio from the I Am Legend Blu-ray, or outputting a stereo PCM signal from Kings of Leon's Only by the Night album, the sound it produces is robust, detailed and wonderfully dynamic. As long as your kit can handle the audio decoding, this Blu-ray player is one of the finest models on the market – it really can transport your disc collection to another level. Read more at https://www.whathifi.com/denon/dvd-2500bt/review#rSIS5t4tB7yHMWxC.99 Read more at https://www.whathifi.com/denon/dvd-2500bt/review#rSIS5t4tB7yHMWxC.99 Pictures: