Janine Elliot takes a listen to the NuForce DAC80 Digital to Analogue Converter and the company’s HA200 Headphone amplifier. Linette Smith then takes the HA200 for a second opinion.

With DACs and Headphone amplifiers becoming the must-haves of today’s audiophile bread and butter, it is no surprise that NuForce, taken over in 2012 by Optoma – famous for projectors – would have a few new products up their sleeves. Their DAC80 and HA200 are available at £695 and $349 respectively and therefore fit in at the lower to mid-price points, already occupied by brands such as Cambridge Audio, Creek, Schiit, Chord, etc. Forgive me for reviewing these two together, but hopefully the reasoning for this will become clear as you read on.

DAC 80 Front

DAC 80 Back

Both well suited together; identical shape, looks and both with a potentiometer on right hand side and use same unit for IEC at rear. Where the HA200 has a single miniature pin-point “on” red light emanating from a hole, which looks lovely, the DAC80 has a series of miniature holes indicating drilled with precision which read U, C, O, C, depending on which of the 2 coaxial, USB or optical inputs you select. A further 6 LEDs on the right hand side inform you of the sample rate. If multiple of 48kHz then it lights blue or if multiple of 44.1kHz lights white. Lovely so far. But there’s a problem; when you turn on the device at the back, the four inputs flash once and then all goes quiet for 6 seconds whilst it wakes itself up and makes breakfast tea. Perhaps a cyclical display of the U, C, O, C indicators would make the unit look even ‘more flashy’ (sic). Otherwise the minute “on” indicator as on the HA200 would have been an alternative. Small point, but I did worry if one of my mains leads was faulty when I first tried the unit. Once the unit is awake you push the volume knob or use the remote (very cute little silver unit, though could get lost, and looks cheaper quality to that of the main unit) to select your input. Unlike the instruction manual which tells you to press one of the four buttons labelled 1-4 to select source (which you have to do for the older DAC100, which is what this is based on), you actually press the volume control repeatedly to select the desired input. Now registering the correct input, I could start to listen, though did feel that unless you look head on, it could be hard to see which input it is reading if the room was bright. Looking straight on this is a beautifully looking unit. Enough complaints, as this DAC80 is vastly better looking than the DAC100 before it, in my opinion.

Both units come in either silver or black at 8.5″ x 9 x 2″ the DAC weighs1.2Kg, whereas the Class A headphone amp a more substantial 2.26kg. As mentioned earlier, the DAC 80 is similar to the DAC100 which came before it in that it could act as a digital input preamplifier thanks to its 32-bit digital volume control implementation. Like its predecessor it has inputs for asynchronous USB, Toslink, and transformer isolated coaxial SPDIF (x2), all operating to 24/192 maximum input. However, unlike the DAC100, it doesn’t have a headphone output though it is half the cost. Adding the HA200 obviously increases the outlay but does give you freedom to choose if you need it or not. The headphone stage on the DAC100 was excellent, though not as substantial as the HA200. The DAC80 provides inputs for a max of 24 bit/192kHz digital inputs for any of the sources. Via laptop Using Foobar 2000 once the WASAPI plug-in had been loaded I could select input.  For most of my listening I used my aged Kenwood DVD-A player, and the S/PDIF output from the excellent Fiio X5 digital player, though I did find the NuForce PC and Mac drivers to be sensibly laid out and easy to use, unlike many I have tried before.

The DAC80 is a simple to operate unit and looks worth the price tag. I first listened to Wagner Rienzi Overture (Netherlands Philharmonic orchestra)through my Krell, Music First Audio, Wilson Benesch set up. All was there, but I felt there was a slight peak in the mid band. This mid-band warmth was also particularly noticeable in “Isn’t This a Lovely Day”, Ella Fitzgerald/Louis Armstrong “Ella and Louis” remix. Ella’s voice is beautifully clear, but Louis’s voice with its distinctive upper-midband sibilance was for me a tad too annoying, let alone that the recording itself is in mono (I actually hate mono recordings!)  In other recordings I found the sound a little more confined and mid-band emphasised than, for example the aged Cambridge Audio DAC that I partnered it with for the review. Everything was there, just a little too nasally for my liking. I felt tops weren’t as crisp as I would expect a top-notch DAC. The analogue specification quotes 20-25,000 Hz +/- 0.25dB, but no mention of +/-3dB, which I expect to see as my “rule of thumb” reference. “Rise up in the Morning” (Modern Jazz Quartet ‘Blues on Bach’), with the triangles, Santa Claus sleigh bells and harpsichord should wake up all the bats and cats in the town. This DAC didn’t do it as much justice as I had hoped, though the main tune made famous by Kenny Everett’s miming clown sketches in the 80’s was clear enough. Time limits prevented me getting a chance to measure pink noise upward of 30,000Hz. Listening with the Townshend Audio £40,000 combination of the Glastonbury speakers with an array of six ribbon tweeters and a super-tweeter all on the front, and their soon-to-be-released Class D/Valve bi-amp system, I soon became tired. I don’t like doing A-B comparisons but I did find it a tad disappointing. The similarity with components used in the DAC100 makes me feel that a completely new design would have been a better option.

Once I listened via the HA200 headphone amp suddenly the sound opened up and the detail and musicality was on par with the best such combinations I have listened to and I could understand why the DAC100 had been so good. This made me wonder why the sound was so much better; the two just worked so well in tandem with the extremely wide frequency band of the headphone amp allowing the DAC to breathe musicality that seemed a tad stifled on its own. The unit has a high performance Alps volume control, though this time without a white line position indicator that festoons the DAC80’s knob!

HA 200 Front

Playing my Audio Technica ATH-W1000 cans the sound was very efficient, though my higher impedance Sennheiser HD650’s needed to be driven quite hard to get a good listening. Using the line-out from my Fiio X5 into the HA200, the Audio Technica showed me just how high the Hz could go, though I actually found the sound too bright. Bass was still all there; just that it was overpowered by the top frequencies, making the sound a little too clinical for comfort. The Sennheiser HD650 and planar designs such as Oppo PM1 and Audeze LCD-2 were a lot easier to listen to. They worked really well, and no surprise.

The HA200 is a very classy, pure and punchy performer, largely due to the Class A topology. Having been brought up on power thirsty toroidal transformer beasts, my eyes lit up when given a chance to try this product. This is no slouch, weighing in at 2.1kg, and is unlike many has-b Class AB products, with their two amplifiers operating for both sides of the waveform acting in push-pull and therefore sharing the wave form polarity from positive to negative in each cycle, the side effect being crossover or notch distortion. There is no distortion from this little beauty. In Class AB, and B for that matter, there is always a point where one of the two halves of the cycle switches off, which NuForce claim to add distortion every time they switch on. In pure Class A, it never does, making it more current thirsty, and also meaning that the sound is pure and less fatiguing. I loved this little beast. Being pure class A does have its downside in that it is continually eating away 24W of power, whether idling or running. A small price to pay for such a promising performance.

And it can get even more expensive to use; the unit can allow for a balanced input, meaning that each HA200 could produce a balanced mono output via the XLR socket at the front (which is hidden behind a cover when not needed).  In Balanced Mode, four completely separate amps (2 per unit) are used to drive the four phases of the music signal (i.e; right normal, right inverted, left normal and left inverted). Having to use two HA200’s mean 48W, but this is a serious piece of kit which I liked more and more as I reviewed it. Even at twice the price for the balanced combi, it was well worth the outlay.  NuForce really do know how to produce an accurate but still very natural and musical product which gave me no listening fatigue and endless fun, unlike the DAC80.

HA 200 Back

CONCLUSION

These are two products that work exceptionally well together but one half not so good on their own. For me the DAC80 is too close to the older DAC100 for comfort, and things have moved on over the last few years. However, I found the HA200 to be one of the best headphone amplifiers I have heard; it is very accurate and ideal for sound engineers like me. So, if you want something that adds things to the music, be it warmth or colouration, then go somewhere else, but if you want a player that quite simply does your music justice, then this is a really good choice, and even better if you buy two.

DAC80

Sound Quality – 8.1/10

Value for Money – 8.2/10

Build Quality – 8.4/10

Overall – 8.23/10

HA200

Sound Quality – 8.7/10

Value for Money – 8.65/10

Build Quality – 8.4/10

Overall – 8.58/10

Janine Elliot

At the time of review an overall score of 8.5 was needed for second review…this is now 9/10. The HA200 Headphone amp will go to Linette Smith for second review and possible Outsanding Product Award. 

NuForce HA200 Headphone Amplifier

I was very interested to get my hands on the NuForce HA200 Headphone amplifier.  The last time I did a second review for a product that Janine had reviewed first, the Flare Audio R2 IEMs, we had a complete ‘Marmite’ experience.  She loved exactly what I didn’t about them….would the same happen with this NuForce Headphone amp? Interestingly, I was reviewing it with some of the same kit as Janine, we both use the FiiO X5 and I had the Audeze EL8 and Oppo PM1 headphones at my disposal too….both of which tend to be my ‘go to’ desk headphones.

Out of the box the signs were good.  It was packaged in a no nonsense but careful way. Like Janine, I was impressed by the design. The HA200 is slim, black and understated.  It has that Stealth-Hifi look to it with nothing unnecessary to the design, the minuscule red LED is a great touch. It looks smart and serious and has a good weight to it (2.2kg) and a nice, solid front plate, all in all a quality item.  It is not a small beasty though, in fact it has nearly as big a footprint as an A4 sheet of paper so this could be an issue if you are looking to use it in a desk set up and have limited space.  As the DAC80, that Janine reviewed with the HA200, did not get a recommended award, I only received the headphone amp to review, so I stuck with my Ami Musik DDH1 as a DAC and used either my laptop as the source via a Chord Company SilverPlus USB or the FiiO X5.

Being pure class A, the HA200 soon started to warm things up on my desk.  We have had class A amps that you could comfortably fry an egg on but the NuForce (thankfully) doesn’t get into the realms of scary ‘oh my god, call the fire brigade’ hot…..its a nice hand-warmer on a chilly day!  Moving onto some music, I decided to take a different angle to Janine.  I mostly listen to Electronic music at my desk and Janine had covered Jazz and Classical, so I went over to Soundcloud (yes, I know MP3 quality) and happened upon a Live & Direct Carl Cox set to start with.  The most obvious thing was that there was an immediate difference in the bass from using my usual DAC/headphone amp combo.  The bass had a great detail to it and there was a massive sub kick…this was sounding like a great combo with the Audeze EL8s.  I try out a Perseus Trax sampler next …a teaser for their vinyl only 303 copies limited edition release.  This is proper squelchy 303 laden acid techno of the highest order.  I really got a sense of detail and the HA200 was playing to the strengths of the EL8s with the soundstage seem wider and deeper than usual.  I switch onto the FiiO X5 as my source which is mainly packed with Flacs.  Carl Cox gets an outing again with his Phuture 2000 album.  It’s a bit of a favourite of mine, gutsy, powerful and fast jungle…..with some deep sub bass.  I get a real sense of all the little detailed noises which shine out whilst underpinning it all is the solid current of bass, punching the tracks along.  Trying the Oppo PM1s there seems to even more of a synergy with the NuForce with the music becoming even more all-encompassing. ‘Time to blackout’ kicks in and it sounds exceptional, plenty of bass but detailed and controlled with now overblownness to it….it feels like I am hearing the track exactly how Carl Cox meant it to be.  There is definitely a theme developing here and the HA200 is very listenable, with comfortable headphones like the ones I was using you could just sit back and enjoy for hours.  I flick through many of my electronic favourites, stand outs include Age of Love (Jam and Spoon remix) which has a wonderful sweet-sounding choral vocal.  The Hardfloor remix of Blue Monday (which is THE best version) has great spatial detail and a wonderful textural 303 sound.  The horns in Rudimental’s track ‘Feel the love’ really sing out and the bass (which can get a little out of control), like on everything else I’ve played through the HA200, is superb.  I do find it quite hard to choose between the Audeze EL8 and the Oppo PM1 headphones but with the benefits of the HA200 the Oppos just have the edge….they do seem like a match made in heaven!

Sometimes when I am reviewing, it feels like the quest for detail is everything, even at the cost of musicality and I have found sometimes that hyper detail is very sterile to listen to.  Janine and I come at kit from very different angles.  She is very much a music professional and sound engineer and I the casual listener, so we can often disagree.  However, I found myself very much echoing her  findings with the HA200.  It is accurate, detailed but very musical and natural….maybe because it complemented the Audeze and the Oppo headphones so well, and I do also have a bit of a soft spot for pure class A amps!  It is not a portable headphone amp and would possibly be more at home inmost people’s main systems on their desks (particularly if you go for the two unit balanced system option) but if you really want that main system feeling at your desk then I am sure room could be made.

CONCLUSION

Recommended if you really want to take your desktop system to the next level and make it as good as listening to your main system.  It is in no way a headphone amp just for bassheads, but, if listening to music that sounds natural and exciting with a clear and detailed bass is your thing, you will seriously love the NuForce HA200, add a good pair of planar headphones and you will be onto a winner.

Sound Quality – 8.7/10

Value for Money – 8.6/10 

Build Quality – 8.6/10

Overall – 8.63/10

Pros:

Natural, non-clinical detail especially on the bass

Seriously looks the part

Surprisingly low price for such great performance

Cons:

Quite a large, hot thing to have on the desk

Linette Smith

Designer’s Comments

Reuben Klein, Optoma’s Product Manager said: “The HA200 produces clear and accurate sound and gives a real live presence for instrument and voices.

“This Class-A reference headphone amp, with its unique circuitry, transforms the performance of earphones and is the nearest that you will ever get to valve sound.

“Using a Class-A power supply makes everything clearer.  This gives better definition from the deepest bass to the rustle of leaves.  You will simply hear so much more.  Yet this detailed sound is never fatiguing at any volume.

“We believe that it offers a superior quality sound than similar equipment produced by rivals which are three times more expensive.”

Capable of driving any set of headphones with more detail and greater scale, the HA200 uses a purist Class-A design in a constant current configuration and offers true single ended output performance.

Unique to the HA200 is its ability to quadruple output power by simply adding a second unit and operating them together in Balanced Mode. This gives even greater fidelity with the two units easily configured for simultaneous use to provide a true balanced mode operation with increased transient speed, dynamic control and quadrupled output power.  Sonically, the resulting sound is completely ‘grain-free’.  The soundstage is wide and deep while instruments and voices are reproduced with extreme clarity and purity of tone. The incredible power and dynamic control over the music simply must be experienced to be appreciated.

The HA200 has a 6.5mm outlet for professional headphones and professional standard XLR inputs and outputs.

LH Labs via Audiobility are launching their new high-end mini Headphone Amp/DAC in to the UK, the Geek Out V2. This initial launch in the UK over the next few months will be offering a 15% discount via indiegogo with delivery before the holidays. Launch offer starts from $254.00

Geek Out V2 has selectable gain settings of 1000mW & 100mW. “Geek Out V2 pairs perfectly with those monstrous power hungry cans or your uber-sensitive IEM’s” says the company’s recent press release.

You can now play any music on the market today from MP3’s all the way up to 32/384 kHz and DSD 128 ultra-high-resolution files. The V2 + version has a built in battery so this Headphone Amp/DAC can be completely portable.

There is also an Infinity version which has the added benefit of a third gain setting of 450mW, plus a third digital mode to optimize the DAC for streaming music through services like Tidal. Its THD performance is further improved by -3 dB.

The New Pass Labs’ HPA-1 Headphone Amplifier  was designed on a “clean sheet of paper” as though it were to be used as a power amplifier.

The HPA-1 Headphone Amplifier is capable of driving difficult loads in terms of impedance, power consumption or both and it has been designed as a real Class-A power amplifier in its own right.

The foundation of the HPA-1’s engineering is a custom, low-noise shielded toroidal power transformer feeding a discreet low noise regulated power supply for the audio circuits.  The HPA-1’s amplifier circuits are low-feedback, wide-bandwidth discreet designs employing a J-Fet input stage and a Mosfet output stage biased into Class A-biased direct-coupled output stage.

The HPA-1 has a single headphone jack on its front panel, two sets of single-ended analogue inputs via RCA jacks on the rear panel, and also a set of switchable “Preamp” line-level output jacks on the rear panel.  The HPA-1 can be used as a stereo preamp. The rear panel holds the power switch and fuse. Volume control is via a hefty rotary knob connected to an ALPS Potentiometer. The other front-panel controls are three pushbuttons, to select inputs or to engage the Preamp output.

Price $3500

The Stratos combines USB DAC with A/D converter, preamplifier, MC/MM phonostage and headphone amp in one surprisingly small, portable box. Built with the audiophile in mind, it supports PCM playback up to an impressive 32bit / 384kHz and DSD up to 11.2M.

If you’re looking to convert your vinyl or other analogue sources to digital, or to record web-streamed audio, the Stratos offers a range of options to help you obtain the best sonic results.

At the same time, if it’s a powerful headphone amplifier you’re after – one that can drive any pair of headphones on the market, again the Stratos delivers. Whether you use the latest generation of earbuds or the most dynamic audiophile headphones available, the Stratos will reveal the true character of your music.

The Stratos may be small, but it contains an amazing amount of technology…

ADL Stratos key features at a glance

• XMOS high speed USB 2.0 input.
• Audiophile-grade DAC which supports PCM playback up to 32bit / 384kHz and DSD up to 4x (11.2M).
• High performance A/D converter for recordings via analogue inputs, enabling conversion of analogue sources into high resolution 24bit / 192kHz digital audio files over a choice of USB, optical and coaxial digital outputs.
• In the case of vinyl recording, no need to worry about a phonostage: the Stratos includes the requisite input, with simple switching between moving magnet (MM) and moving coil (MC) or line input.
• Electronic volume control allows use as a multi-functional digital and analogue preamplifier that can be connected direct to a power amp or active speakers. Volume control has a memory function, so volume can be set at different levels for each input (phono, line, USB).
• Headphone amplifier with ample drive for good headphones and its own volume control.
• Three two-channel headphone amplifiers, two of which power the XLR (4-pin) balanced output, while a third powers the 6.3mm stereo phone jack output. All three deliver superb drive capabilities, being able to drive headphones from 12 to 600 ohms at >120dB dynamic range.
• Convenient gain switch for recording attenuation: Adjust the recording attenuation to avoid overload distortion during recording: -6dB, 0dB or +6dB (Rec/db signal light comes on when input level exceeds circuit gain).
• External power supply; while a USB-powered device might be convenient, it won’t develop the power required for high resolution playback, so the Stratos features a dual power supply system: the 5V USB bus powers the input circuit only, while all other circuits are powered by an external 15V power adaptor.

The ADL Stratos is available now priced at £995 (including VAT).

Manley Labs has unveiled the company’s latest product for the Hifi market at CES 2016, The Manley Headphone Amplifier which they say has been built to meet the demand of audiophiles turning to personal headphone listening.   

Information from Manley’s website says “There are twelve independent controls designed for maximum performance and customizable handling of sonic adjustments for a wide variety of audio experience. Of special import are the custom hand-wound air-gapped dual-mode MANLEY IRON^Ⓡ output transformers, designed and manufactured at the Manley Labs factory in Chino, California. With a push of the button, these transformers are easily user-configured to drive three ranges of headphone loads, from 12 to 600 Ohms or greater”.

The output stage of the Manley Headphone Amplifier can be switched on-the-fly between all-triode Push-Pull and Single-Ended topology.

The Volume Control is performed by a Precision Stepped Relay ladder matrix whilst left-right Balance control is provided to trim out uneven recordings. The Manley Headphone Amplifier operates fully symmetrically, enabling it to drive balanced headphones through its XLR outputs but of course non-balanced ¼” jacks are also present. A direct preamplifier output which routes your first line input through the system to feed an external power amplifier or powered loudspeakers is also available when the headphone amp is powered down.

The Manley Headphone Amplifier also, and somewhat unusually in this day and age, incorporates bass and treble tone control to allow listeners to adjust the flavour of the sound to their preference… but you can totally bypass of the EQ circuits also.

The Manley Headphone Amplifier is available in three different colours fu: Champagne & White, Titanium & Bronze, or Copper & Black.

Details

• Vacuum Tube design, 2 x 12AT7A Drivers, 4 x 6AQ5 Triode Strapped output tubes
• Single-Ended or Push-Pull amplifier operation
• Precision Stepped Relay Volume Control with Thumb Wheel
• Selectable headphone load settings: 12-50 Ohms, 50-200 Ohms, 200-600 Ohms
• Variable Feedback Control: 0–10dB of negative feedback
• Balance, Treble and Bass Controls use silent conductive plastic potentiometers
• Tone Bypass for purist signal path
• All switching via high-grade gold-contact relays
• 3 x Stereo Outputs: Balanced XLR headphone outs, Unbalanced standard ¼” TRS headphone jack, RCA Preamplifier Outputs
• 2 x Analog line-level RCA inputs
• Mono / Stereo function
• Mute Switch
• User adjustable Headphone Overload Protection System
• MANLEY IRON^Ⓡhand-wound wide bandwidth air-gapped output transformers
• Preamplifier Direct output routes Input 1 direct to output when unit is in standby
• Soft Start, mute-controlled power-up sequence
• High Speed, Low Impedance, Low Noise custom switching PSU
• Operating Mains Voltage: 90~250VAC universal works worldwide
• Mains Voltage Frequency: 50~ 60Hz
• Solid Aluminum Billet Chassis
• Real Wood Walnut Burl Trim
• Maximum Output Power: 1W
• Unit Dimensions: 11.5 x 5.5 x 8.2” (LxWxH)
• Unit Weight: 12 lbs.
• MSRP: $2950

Janine Elliot continues her series of articles for Hifi Pig highlighting classic hifi from yesteryear. This month, given that Sennheiser have recently announced a new $55 000 Orpheus, she turns her attention to the original Sennheiser Orpheus, first released in 1991. 

I remember, way back in 1977 buying my PWB electrostatic headphones from KJ in Watford. I couldn’t afford a Stax Lambda, and 14 years later, heavily mortgaged, I still couldn’t. That year, 1991, Sennheiser made its boldest move with the ‘Orpheus’, a complete electroacoustic kit that was on another planet. Koss had been making electrostatics since 1968 with the ESP/6, and I remember much later trying the ESP/9s but found those very heavy and bulky, just as was the ESP/6. The reason for the weight was the fact that Koss believed it was preferable to put the transformers in the ear-cups rather than in a separate box next to your amplifier, like the Stax, and my PWB for that matter. That all changed with the ESP/950’s. Despite the hype from the electrostatic Sennheisers, most hifi fans only ever verbally connected the word ‘electrostatic’ with the word ‘Stax’, and the Orpheus never ran its life for long despite it being the world’s most expensive and oft described ‘probably the best ever headphone’.

In its run of just 300 units, which were all sold very quickly, it was certainly the best ever engineered and most expensive headphone. Until 2016, that is. The announcement of a very new Orpheus comes at the same time that Kodak has announced their first Super 8 video recorder since 1982.  But whilst the Super 8 is certainly a backward step (and one wonders ‘WHY’), the new Orpheus is anything but. This, and its father, is the model serious reviewers all talked about, even if they never got to hear it.

Founded by a Dr Fritz Sennheiser and seven other engineers from the University of Hanover, the German company Sennheiser has produced some brilliant headphones over the years; notably the yellow-foamed HD414s, the HD600s which led to the HD650s, and later the HD800s. Their Orpheus is largely the work of Manfred Hibbing and contains the HE90 headset and HEV90 energiser/class-A valve amplifier. This model was never intended for mass sales; how could it at the price? No, Sennheiser had set itself the target of making the best headphone in the world, whatever the cost. The Orpheus, looking like a HD600 with wooden wingnuts and supplied with beautifully designed valve amplifier, was a pure beauty, though I still felt at the time it didn’t look quite as good as its hefty price-tag (the cost of four of them would buy you a house in Luton). In November 2015 Sennheiser again, like a scene from Groundhog Day, came out with the announcement of a no-expenses-spared headset pertaining to give the best ever sound quality, at €50,000 (again a quarter of the price of a 3 bed house) and with a frequency response from 8 to 100,000Hz. This one actually does look €50,000, though. Labelled their ‘monument to sound’ appropriately with a marble slab from Carrara in Italy (which apparently Michael Angelo also used in his sculptures) it has two black chromed brass boxes sitting rather out-of-place on the top. On switch-on firstly the knobs in the front come out to greet you, then the valves pop up from the box on the right and finally the headphones appear from under a lid of the box on the left. A sort of clumsy B&O, though still a cool idea, and as much fun as listening, I guess. This Orpheus is also labelled the HE1060/HEV1060 combination, though just like its predecessor, “Orpheus” will do nicely thank you. The original designer came out of retirement to help with the design of the 2016 version, too.

The original 1991 Orpheus cost $12,500, and today 25 years later – if you were ever able to find one of the 300 up for sale – well, you would expect to pay at least twice that, perhaps as much as $40,000 for a really good condition example. Looking more like a spaceship, everything about the original eschewed luxury; from the almost art-deco layout and chromed platform around the valves (almost copied by Manley and Shanling) to the fancy wood layers at the rim of the electrostatic head pieces. This was no ordinary beast. The valve Class-A amp didn’t have an on off button, but rather you had to insert a key into a lock and turn it clockwise to enable the unit, much like you start your car up in the morning. Good idea, then no one in your house would be tempted to switch it on, since the owner would undoubtedly keep the only key with that of their Porsche or Mercedes. If you lost your key then a call out to the AA would probably be required. The volume control was tastefully hidden at the top of the central front pillar holding the whole unit upright, and with a rated 118dB maximum output, these things can go pretty damn loud. There are provision for two headphones to be connected (an extra pair for your partner was $6500). Three inputs include analogue and optical (TosLink) and coaxial (S/PDIF) digital. The fragile electrostatic membrane includes a 1um–thick, gold-coated polymer foil. The electrodes are made of high-strength glass with a honeycomb of perforations. One side of each of the two electrodes in each headset is gold-plated which can be clearly visible through heavy stainless-steel protective mesh screens.

Where the new Orpheus is a minimalist and simplistic design, with even the three knobs on the front receding into the Marble slab when not switched on, the chrome fronted original Orpheus was a very dramatic design aimed at grabbing your attention (and your reflection) before you even started to listen. When I got to listen to the original Orpheus it did feel to me, I recall, to be amazingly clear mid and high frequencies, though the bass was very thin compared to the conventional cans I was used to wearing, and, from what I have heard, less than the Stax Lambda electrostatics that were gracing the hifi shops at the time. My PWB’s were the best thing Peter ever made and with their less than clearest electrostatic top end made the Orpheus miles ahead of anything electrostatic I had heard until I bought my own Stax.  That top end just amazed me and it felt, to me, like they could never be bettered. I am aware from those that have so far heard the new 2016 Orpheus that this one is even better. Perhaps, then, another even better one in 25 years’ time?

Janine Elliot

Read more Retrobites with Janine Elliot

After strong demand, Lotus hifi brings the Allnic HPA5000 headphone Amplifier to the UK.

The HPA5000 is a unit made for the headphone audiophile and is a tubed output transformer-less (OTL), output capicitator-less design (OCL).

It uses x2 6AN, x2 E180CC and x4 7233 tubes. Each tube sits on Allnic’s patented Absorb GEL vibration damping socket and is enclosed in a protective chimney. The HPA5000 has +28db of gain and an output of 5 watts into 8 Ohms. It is designed for headphones between 30-50 ohms and will drive almost any headphone on the market.

Available in silver or black and priced at £4500 the amplifier comes with a 2 year warranty and 1 year on factory supplied tubes.

Burson have announced that they have completed the R&D of our 3rd generation Conductor., which is their reference class headphone amp, USB DAC and preamp, 3 in 1. They say “is a major update from previous Conductor models”. The Conductor V2 headphone amp and pre-amp section are powered by a dedicated 70W transformer. Tuned to operate in pure Class A, it outputs over 8 Watt per channel into 16ohm, making the Conductor V2, claim Burson “one of the most powerful headphone amplifiers in the world, capable of driving any headphone”. On the digital front the Conductor V2 features the flagship ESS Sabre DAC, has completely new supporting circuitry and an independent power transformer. The new USB module features a digital interface from XMOS with their 8 core U6 chip supporting native DSD256 playback and up to 32bit depth.

Burson are yet to set a price for it. Instead, they have put the design on Indiegogo to seek community support. With enough contributions from the community, they are hoping to push the price as low as $999 USD for the analogue version (V2) and $1,499 USD of the fully equipped version (V2+). Burson have told us: “We want it to have a lower price so more audiophiles can own this truly amazing machine.”

Unison Research are expanding on their valve-based hifi electronics to produce their first ever dedicated headphone amplifier. The SH is a single-ended, two-stage full-valve headphone amplifier designed to accommodate both traditional analogue sources and modern computer-based audio.

Unison Research have created SH in order to cater for the growing world of headphone audiophiles. As most readers will be well aware, headphones have become increasingly important in the high-end home listening environment and the SH was developed to offer a high-end valve alternative to the many solid-state headphone amplifiers that are currently available.

The SH began with the same basic aim as the company’s Simply Italy integrated amplifier; to produce a world-class sound from a specialised device, using the best technology available. However, to suit the particular factors associated with headphone listening, the development team also had to ensure that the amplifier was designed with low noise characteristics and low internal impedance.

The result was a fairly simple linear circuit with low negative feedback that produces an output voltage which is capable of driving a wide range of headphones, while keeping distortion low throughout the frequency range. To compensate for the low negative feedback required in the design, attention was paid to ensure optimal linearity and increased attention on managing noise to a minimal level throughout the electrical path. “It’s thanks to this design that the SH is able to deliver a consistent, coherent, rich and identifiably “valve” sound character when in use” says the recent press release from Henley Designs, the UK Distributor.

The input stage uses an ECC83 valve, while the output stage uses one EL84 (both valves operating in triode mode). The benefits to using this specific combination of valves are said to be two-fold. First, the application requires reduced power compared to how the valves are usually employed, resulting in extended life. Second, the EL84 is capable of producing enough power to also drive the specially-selected output transformer with optimal electrical and sound character.

The SH has two headphone outputs that are connected in parallel (each with their own EL84 valve) for easy switching between headphones, or to accommodate multiple listeners. There is also a “Sensitivity” switch, to ensure the widest possible range of headphones can be comfortably driven  by the amplifier. When set to “High Sensitivity”, the output voltage from the amplifier is reduced, and at “Low Sensitivity” it is at its maximum. The volume stage is entirely passive.

In addition to a standard un-balanced RCA input for connecting any Line-level source, the SH is also equipped with a USB DAC. The asynchronous USB 2.0 technology is the same as found on the recent Triode 25 amplifier, and supports audio formats up to 384kHz PCM and DSD 128. There’s a patented jitter-elimination circuit and galvanic isolation employed between the power areas of the USB interface and the conversion IC.

SRP £1,250.00

“DACportable is a powerful, palm-sized device that turns the average audio of your smartphone, tablet or computer into a concert-hall listening experience” says the recent press release from CEntrance.

Encased in anodized aluminium, DACportable comes packed with audiophile-grade components the company continue.

DACportable is said to be plug and play via a USB connection. DACportable has  features like EQ filters, digital volume control, a quick charge battery. DACportable’s high-res sound (backed with 32-bit/384kHz digital audio) is self-powered, so it won’t drain your phone’s battery.

The DACportable will also work with future iPhones with or without headphone jacks.

CEntrance recently launched DACportable on Indiegogo and received an amazing response, already surpassing their funding goal with $53,000.

KR Audio, famous for manufacturing their very own tubes will be at this year’s Munich High End where they will have their VA 200 amp rated at 200 Watts and utilising the KR 842 vhd tube application.

Also on show at High end 2016 there will be their P-130 pre-amplifier with KR 05 tube application and the VA300i with KR 300B tube application.

As well as more traditional amplifiers, KR Audio will also have a headphone system showing a VA355i with Abyss with KR 100 tube application. The KR T-00 is, say KR Audio a superior 845 and the amplifier is also known as the ‘baby Kronzilla’.

Read more news about Munich High End 2016 Here and Hifi Pig’s coverage of last years High End Munich here

Mytek Digital has announced the release of the MQA™ firmware update which enables the new Brooklyn DAC/ Headphone/Phono Preamplifier to decode all MQA files — in addition to all other formats, including PCM 384k/32bit and DSD256. After Meridian, Mytek is the second MQA licensee to release the firmware update with the MQA technology.

MQA is an end-to-end technology that captures and delivers master quality audio in a file that’s small enough to stream or download. And because it’s fully authenticated, the listener can be sure they are hearing exactly what the artist recorded and approved in the studio.

Later this year, availability of high-resolution music streaming services using MQA format is expected.

In a move that is rather unusual in a $2,000 DAC, Mytek has engineered the very Brooklyn DAC to also include a Phono Preamplifier and Headphone Amplifier.

The Wadia Dl122 Digital Audio Decoder will decode files at 24-bit/192kHz has a USB input that accepts up to 32-bit signals and support for DSD64, DSD128, DXD 352.8kHz and DXD 384kHz. It has an onboard headphone amp, a host of outputs and costs a pound under £1500. Dan Worth takes a listen for Hifi Pig. 

Wadia have been a big name in digital front end equipment for many years now and for me have always provided products with great styling, flexibility, feature rich options and solid sound performance. So when Absolute Sounds who distribute the world renowned brand here in the UK suggested a review of the new DI122 DAC – predecessor to the 121 which I know very well, I was happy to oblige.

The unit arrived extremely well packaged with medium density foam completely encasing the unit, with sufficient space for the included power supply and remote control. It’s always nice to open a package that immediately states ‘thoughtfulness’.

The DI122 has an external switch mode power supply of 5v to connect with the unit, so my immediate thought was great, I can try one of my Paul Hynes linear PSUs with the unit and having the PSU outboard of a sensitive digital circuit of course is always a big plus point for me.

Also included is a remote control for the DI122. This remote control is one of the nicest I’ve had the pleasure of using, it’s ergonomic and just so stylish, many manufacturers include these solid billet aluminium remotes with high end gear, but in my experience they are sometimes more style over substance. Often they are too heavy for comfortable use and can have sharp edges as well as being table top scratchers. The Wadia remote though is slim, comfortable, lightweight, well thought out and just so sleek looking.

The main unit of the DI122 package is equally as beautiful; a small form factor, aluminium surrounded, smoked glass lidded and very well made. It sports inputs for coax x2, optical X2 and USB, along with RCA unbalanced outputs and XLR balanced. Triggers in and out to connect to supported units are also featured along with a headphone amp and digital volume control to boot. The Wadia boasts a great platform for multiple system integrations and could be deemed at the heart of any digital setup with all of its features.

The Sound 

Due to the typical Wadia rich feature list I was able to really utilise the unit to its full potential. In an alcove in my listening room I have a large wall to wall worktop as a desk and underneath lies a 150cm rack. The racked equipment feeds my main passive speakers as well as active Focals for the desk and is all connected via a highly modified Mac. I also have on the desk a nice stand with my headphones and another workflow Mac, so implementing the Wadia as the heart of this system was simple and obvious.

Firstly I listened to the active Focals with tracks from Tidal. I felt the combination being connected via the balanced outputs of the DI122 was a very good match sonically, a robust and detail rich sound presentation – highs which were never splashy or with peaks to produce strong air and spatial awareness. I particularly enjoyed the tonality given to acoustic guitar with a top end that had strong fleshed out details. Although the Wadia isn’t tremendously dynamic it’s very musical and conveys a strong portrayal of natural tones and dynamics with good depth and insight into the mix, matched with the Focal’s more extended and revealing top end I felt I had struck a balance which I soon became very fond of.

Vocals were again nice and natural and far from any forwardness, when near-field listening any added forwardness doesn’t sit well with me at all and the combination of the Focal/Wadia setup allowed for me to enjoy even the most exuberant of performances with relaxed ease.

Bass performance was a little more rounded than my usual DiDiT 212DAC, but blended coherently with the rest of the presentation. I generally use this area of my home for any day time video viewing as I have a 32″ led monitor in situ on the desk and having the DI122 as the heart of 2 channel video/audio was also a great pleasure. The strong balanced sound accompanies good imaging very well.

Before I move d to the main system I played a few tracks with my Audio Technica ATH D2000X headphones, again a detailed and punchy sound like the Focals which favours the Wadia’s more natural and slightly laid back presentation. I loved what I was hearing vocally and bass performance was punchier through the headamp into my headphones than the main unit’s analogue outputs, but then this of course is designated by the headphones to a great degree. Top end was also nicely laid out with good dynamics and the ability to keep the treble reined in to a suitable and pleasing standard, making long listening sessions at good volumes an easy task.

Moving on to the main system and with no need for any wiring as the unit was already setup to accommodate all my equipment at once, I can report that the Wadia DI122 does a sterling job of portraying a convincing natural performance again. Of course the quality of the accompanying components being used was greater and allowed the Wadia to really shine.

Musicality was at the forefront of the performance with strong decay being a notable characteristic of acoustic performances. Details in the top end were rendered extremely well with absolutely no harshness at all. All transducers used throughout this review are noted for being clean, from the Focal house sound, to the Audio Technica then on to my all Accuton ceramic based Ayon loudspeakers. With the Wadia being of a slightly smoother character, the matches I found myself with were a fantastic balance and allowed for music to flow effortlessly, with liquidity, great soundstaging and also real insight into the performances. Vocals were extremely strong and had a favourable and flattering position with great focus and air.

Also at the time of review I had a nice little standmount pair of Dayens loudspeakers, which have a great ring radial tweeter. Utilising the DI122 again with the Dayens (which are not of a typically clean nature such as the other transducers previous) I could see a stunning little system in my mind. Wadia have produced matching components to compliment the DI122 – a streamer M330 and a couple of complimentary amplifiers A102, A315 and A340, along with the little Dayens would make for a gorgeous small footprint system, even the Martin Logan Motion 15’s previously provided for review by Absolute Sounds would make a terrific system for all of ones digital requirements.

The bouncy and fun sound produced with the smaller standmounts in situ added to the fun factor of the system and it spurred me on to play some more upbeat, poppy music and Electronica. The flexibility of the DI122 continued to put a smile on my face as I really hoped it would as style over function is not something that sits well with me, I’m the type of person who is absolutely cool in a crisis, but get infuriated at small little problems, so if a product from a reputable company comes to me for review and quietly boasts to me on first inspection that it will be able to accommodate all my listening parameters into one easy to use unit and then functional and sonically falls short of the mark I would be compelled to make a fuss about it, I would find that unacceptable.

My final task was to unite the DI122 with an improved power supply of the linear variety. I own many Paul Hynes power supplies and I have a 5v SR5 version which I could easily lend to the Wadia. A quick change over and yes! I’m so glad I had one to hand, the image now produced had more air and space to it, along with more accurate timing. Tonally I find the unit to retain its essence, but there was a development in character, the sound was more assured and a little more commanding in the bass, top-end details filled out a little and also had more perceivable space around them allowing primarily for more definition and attention to decays which were already strong, but now had better presence and a cleaner integration with a layered next note. Vocalists also spread their wings a little and pushed the rest of the band a little further away to allow for that portion of the stage to be more their own. Significantly different, ummm I’d probably say no, worthwhile, yes and the best thing was I knew I was still listening to the DI122. 

Conclusion 

With two coaxial and two optical inputs that accept up to 24-bit/192kHz signals; a USB input that  accepts up to 32-bit signals and support for DSD64, DSD128, DXD 352.8kHz and DXD 384kHz. This vast array of inputs and supported formats allows music from an abundance of digital sources to be reproduced with the precision and elegance Wadia are famous for, with the option of two sets of outputs via RCA and XLR, like myself during this review the Wadia DI122 can be utilised for active and passive systems simultaneously and controlled via the stunning remote control and systems digital volume.

With a complimentary headphone amplifier, great style and a detail rich, natural and fluid sound, I can’t see what there’s not to like about the Wadia DI122 Digital Audio Decoder.

Pros:

Excellent flexibility

Great array of inputs and outputs

Great styling

Terrific remote

Highly musical

Cons:

Could be a little more dynamic

Price at time of review: £1499

Dan Worth

The long-awaited DAC/valve headphone amp and preamp from the Danish brand Copland has arrived in the UK courtesy of Absolute Sounds.

DAC 215 is a Universal Hi-res DAC, Preamplifier and Headphone amp.

The heart of the DA215 is a D/A converter with multiple S/PDIF inputs, PCM, and DSD capabilities using the ES9018 Reference 32-bit DAC in quad-mono configuration, 8 mono to 2 stereo configuration.  The company’s press release has the following to say “Combining four in-phase and four opposite-phase converters per channel, the statistical properties of the signals are taken to advantage; the signal power of the phases correlate and add-up in constructive addition, whereas the noise power of the phases are de-correlated, improving the signal to noise ratio of the resulting analogue waveform”.

The class-A buffering technology of the analogue filtering sections is borrowed from the Copland CD-players and composed by discrete transistors.

The DA215 incorporates an asynchronous USB input, three S/PDIF digital inputs, an analogue input, two analogue outputs (fixed and variable) and a complete pre-amplifier with analogue volume control and front panel headphone output featuring vacuum tube gain stages.

You can use the DAC215 for headphones playback. However, you can also use it as a high-end pre-amplifier with volume control, using the amplifier RCA outputs. The volume control and pre-amplifier functionality can be bypassed for pure DAC mode.

The DA215 USB features USB 2.0 PCM 24/32 bit data transfer to 384 kHz, including native DSD64 and high resolution DSD128. The input is converted to i2s and it is connected directly to the DAC chip. Once connected, the computer recognizes the DAC and routes the digital audio data to it, bypassing the source device’s internal audio circuitry. The asynchronous USB-B port connects to the computer’s USB-A port. No power is taken from the computer. The regulated power supply for the USB input section has its own winding of the power transformer and the noisy computer line is completely interrupted by the use of digital Isolators.

UK RRP: £1998; available with black or silver fascia

The Nēo ACE from Moon is “A Complete Experience of musical ecstasy” says the company’s press release. The all-in-one ACE is an integrated amplifier and streaming DAC music player so all you need do is simply hook up a pair of speakers, connect to the internet and play. The ACE features Moon’s MiND* control system which provides a full graphic interface allowing access to a digital music library or streaming service.

The ACE features all-new advanced setup software and will decode DSD up to DSD256 and 32- bit/384kHz PCM. The ACE also features a moving magnet phono preamplifier and has RS-232 and IR ports for use in custom-install environments.

RRP £2,800, though on offer at £2500 until July 1st

MOON NEO ACE FEATURES 

• Three line-level inputs including a front-mounted 1/8” mini-jack for personal media
• Headphone output on 1/4” TRS jack located on the front
• Seamless integration with MOON’s MiND
• Eight (8) digital inputs include USB (hi-res audio), SPDIF (2), Optical (2), aptX® Bluetooth®, Wi-Fi and Ethernet
• The first MOON product using an OLED type screen – provides more detailed information.
• Simple MiND setup via on-board software
• Moving magnet phono preamplifier
• Analogue inputs are configurable to “pass-through” mode, which bypasses the gain stage to accommodate components like a home-theatre processor

TECHNICAL SPECIFICATIONS 

• Output Power at 8Ω: 50 Watts per channel
• Input Sensitivity: 370mV – 3.0V RMS
• Input Impedance : 11,000Ω
• Gain: 37dB
• Signal-to-noise ratio: 100dB @ full power
• Frequency response (full range): 10Hz – 60kHz +0/-3dB
• Crosstalk: 90dB

   THD (20Hz – 20kHz @ 1 watt/50 watts): 0.015% / 0.02%

• Intermodulation distortion: 05%
• PCM Bit-depth range/sampling rates: 16-32bits / 1-384kHz
• DSD sample rates: DSD64, DSD128 & DSD256
• Shipping weight: 24 lbs / 11 Kgs
• Dimensions (width x height x depth): 42.9 x 8.9 x 36.6

Dan Worth has a listen to the £3000 Chord Hugo TT for Hifi Pig.

Hugo TT is a desktop orientated DAC and headphone amplifier following on from the success of the Hugo DAC/headphone amplifier. The new larger desktop-orientated device offers greater connectivity including two USB-B inputs, XLR and RCA outputs and two quarter inch headphone outputs.

Compared to the more mobile Hugo, the Hugo TT has a larger chassis, remote control, and alphanumeric LED display with input/sample rate data. Hugo TT also boasts a mega 10,000,000 microfarads of supercapacitors.

Hugo TT supports up to 32-bit/384kHz audio via coax and USB, and 24-bit/192kHz over optical, plus DSD64 on all inputs and DSD128 via coax or USB (all via DoP).

In a key upgrade over the original Hugo, the Hugo TT benefits from a high-quality asynchronous B-type USB connection for both the SD and HD USB input. With two further digital inputs, a very nice gold BNC, RCA coaxial and optical allows for input switching of multiple connected devices.

Hugo TT also has A2DP Bluetooth capability and uses a custom-made module with the aptX codec to feed a digital signal directly into the DAC circuitry, so even without cables, music can still be enjoyed.

The Hugo TT retains the same Spartan 6 FPGA as Hugo. It has the same specification and measured performance as its mobile sibling.

Being a home-orientated device, the Hugo TT has been designed to run continuously from the supplied charger, however Chord’s engineers have also improved the battery and added Supercap energy storage, a technology seen in F1 where supercacitors back-up the cars batteries by sharing the load and charge demands, thereby protecting them. They serve a similar purpose in the Hugo TT, extending the battery life.

Inputs

– 1x Optical TOSLink 24-bit/192KHz-capable

– 1x BNC coaxial input 32-bit/384kHz -capable

– 1x HD/SD USB B-type input up to 32-bit/384kHz

Outputs

– 1×3.5mm headphone jack

– 2×6.35mm (1/4-inch) headphone jack

– 1x (pair) stereo RCA phono output

– Fully balanced via XLR connectors

Fit and Finish

Releasing the Hugo TT from its double boxed transit packaging enlightened me to consider the more substantial dimensions and weight over the original Hugo. The unit, although considerably larger and heavier didn’t warrant me to consider it completely non-portable. Of course it’s not something which I could place in my pocket connected to a phone or DAP, but it’s definitely something which can accompany a travelling businessman for use with headphones or active monitors.

The build quality is typical Chord and typically exceptional. The first incarnation of Hugo demonstrated a couple flaws, specifically with regards to socket space, which were soon rectified but due to Hugo TT’s design this is not an issue. A well laid out rear panel with very high quality socket array and the front input selection and power buttons available were neat and tidy, although I am not a fan of the top mounted volume control as the position of the unit on my on desk was under the left edge of my monitor making volume adjustments awkward.

There is a remote to Hugo TT, but it’s not something I wanted on my desk as it would just get knocked around and end up finding a small crevice to fall into during working hours. Any current desktop equipment in my own case has it remote placed in a drawer out of the way, but again if I was a travelling the remote would prove indispensable, especially with small active speakers connected.

I was never fond of the previous Hugo’s volume control knob and I am not of the TT, although it’s functional and I can completely understand why Chord use it to keep the sleek lines and portability of the unit to a high standard – I would have preferred a front fascia offering with simple up and down buttons.

The casework of the unit and the quality of materials and finishing is exemplarily, dressed in black or silver the eye catching modernistic design oozes presence and even prestige.

The Sound

For the integration of Hugo TT in my system I decided to use the device in a purely desktop format. Whilst obviously being a headphone amplifier its XLR outputs allowed me to connect my active Focals which sit on shelves above the main desk.

I use Spotify, Tidal and Amarra Symphony for my personal music collection stored on my NAS drive. Initial setup regarding gain levels took a little tweaking, if the Focals on-board gain was too low increasing Hugo TT’s volume too much caused terrible distortion and without any form of numeric display it’s difficult to know where you are with the product. Using too much gain from Hugo TT will decrease battery life, so finding a balance between the Hugo and the Focals was imperative. I suggest to Chord that they have a volume indicator on the onboard display and also an indicator when the unit is say at 0db gain for a pseudo fixed output – or even have a button to drive the outputs direct rather than variable. A fixed output switch would have been a good idea to utilise the unit as a standalone DAC too.

Once I honed in the gain balance between DAC and active speakers music came through with real stability, clarity and crystal clear highs, that sparkled throughout my listening space. Vocals were utterly poised and held strong presence and position in the soundstage. Lower frequencies were tight and explicit, but never to the detriment of balance and focus, giving punchy articulated bass with plenty of detail, extension and flow. I was never a big fan of the Qute range of DACs, but when I first had the opportunity to review and hear the baby Hugo I was astonished at what Chord had developed and the Hugo TT is an outstanding progression of Hugo technology… which also features in some of their latest digital amplifiers, featuring the intelligent FPGA circuit which very few manufacturers have really been able to implement so competently.

For me Hugo and Hugo TT have an accurate, controlled and poised presentation which is clean and clear, but their specialty is to take all of these attributes and present them with undeniable attention to music, filling each note and frequency with all of its undertones and fullness; something that the Qute range of DACs for me didn’t achieve.

Using Hugo TT as a Headamp

Adding my pair of AT-2000X’s to the Hugo TT I first needed to switch the Focals off as the line outputs do not shut down when headphones are added. I played ‘Kissing’ by Bliss first and was greeted by a soundstage which was very large and filled with harmonics. Notes floated ambiently with focused vocals in a space outside of my head. It’s very rare I’d ever describe a headphone setup in this way, I have heard many high-end rigs and still they never tick that box for me and often I hear people state ‘it sounds like having speakers in front of you’ but my own reality never suggests this. The Hugo TT still doesn’t sound like a pair of speakers at the front of the room, but it has an exquisite range of tones that confidently breach the boundaries of my head giving a soundstage which is vast and wide in a 360 degree manner, with clear definition of spatial awareness, dynamics and pure and concise details.

Another aspect which the Hugo TT really excels on is pace; Nils Lofgren’s complex string work on his acoustic guitar starts and stops with utter precision, inflecting reverbs and acoustical awareness convincingly, while decays have their own ambient effect as another layer to the speedy musicians playfulness. I love how much clarity and control upper mids and the top end has, without ever over stepping the mark and becoming hard. The balance the Hugo TT has from top to bottom is fantastic, it can produce pin point accuracy and also subtleties with sublime interest and also fill out notes for a more realist appeal, conveying more natural presence and appeal.

‘I Can Explain’ by Rachelle Farell is a track I often use during my review process and I urge any potential TT listener to try this piece of music to assess tonality, dynamic control and subtlety of notes. This particular piece of music made me sit up and really accept how exceptional Hugo TT really was. It’s not a busy piece of music, but with Rachelle’s record breaking vocal, the tonality of piano and the natural dynamics displayed by her vocal range and which the TT accurately portrays where many systems struggle to present so pleasingly; I knew immediately that this piece of equipment is something of a marvel.

Chord are renowned for electronics which can produce a beat; Electronica and dance music is always a strong point for their designs and the TT can nail these parameters too. I listened to some Tidal club playlists and various other electronic music and to the flip side of the subtle and rich tones, TT hits notes as low as the human ear can possibly perceive and punches a beat that will have you up and out of your chair with the only moment of reality being when the headphone jack pulls out of the Hugo’s chassis and you double check to make sure nobody saw you looking like a fool!

A real sense of realism is a term I would apply to Hugo TT. I don’t find colouration in the sound per se, but its texture is a bit more sprightly than neutral. It deserves a great set of headphones to be partnered with and I’m sure I’d be able to get further improvements by upgrading to a more expensive pair of headphones, but I do like the ATs and they are a terrific tool for use in reviews being so transparent and articulate.

Conclusion

All in all the intelligent FPGA circuitry used in the Hugo template has been a true revelation to intimate headphone listening and amplifier/speaker combinations fuelled by Chord’s electronics. I admit I was never favourable about the Qute range of DACs, but Chord have struck back hard, not with a product range that simply addresses previous errors and surpasses past DACs but have become true class leading products. Whether the budget can reach for a Hugo TT at £3000 or the original Hugo £1400, rest assured that Hugo will undoubtedly impress! I highly recommend it!

Pros:

Upmost attention to detail and micro details

Filled out balanced, dynamic and natural sound

Exciting yet subtle

Feature rich

Finished with excellence

Cons:

Volume indication and integration could be clearer

Price: £3000

Dan Worth

Burson got in touch with Hifi Pig to tell us they are introducing the pocket sized, USB powered “Conductor Air”.  Details are pretty scant at the moment but they say that just like its full sized sibling, its a USB  DAC, Head amp, Preamp 3 in 1 unit.  

Key Features:

• 185g uni-body aluminium enclosure
• Xmos USB receiver capable of native streaming DSD256, DXD, 32bit/384khz audio files
• SABRE32/ESS9018 DAC chip, just like the desktop Conductor V2+
• Raising a 5V USB power to 18V resulting in 4 times the dynamic range and 500mW into 32ohm of power
• Remote controlled preamp.

The conductor Air will come in both silver and black and will cost $499 when it is available in late August.

Australian brand Burson have announced a Noir Edition of the Conductor V2+ headphone amplifier/DAC/preamplifier. Hifi Pig had one of the older versions of this in house for a few months driving Audeze cans and it offers very good value and great sonics for money at USD 1499.

The Noir Edition will have the same spec as the classic silver one. ie.

8.2W per channel @ 16ohm,

Class A

SABRE32 ESS9018 DAC + Xmos USB receiver making it DSD256 / DXD / 32bit384khz able

Remote Controlled Preamp

5 years of warranty

The Noir version will be Available later in August.

McIntosh has announced the launch of the new MHA150 Headphone Amplifier made in their Binghamton, NY factory, they say ‘the MHA150 Headphone Amplifier is a worthy successor to the critically-acclaimed MHA100. The MHA150 contains the same feature set and performance standards but adds our new 2nd generation digital-to-analogue converter (DAC) that provides support for DSD and DXD files to give access to the latest in digital music.’ McIntosh’s Autoformer technology found in their large mono and stereo amplifiers has been adapted to produce three headphone impedance ranges of 8-40, 40-150 and 150-600 Ohms so that ‘every headphone will receive the legendary McIntosh sound quality and performance’.

.For enjoying DSD and DXD files, the USB input accepts PCM signals up to 32-bit/384kHz and supports DSD64, DSD128 and DSD256 along with DXD 352.8kHz and DXD 384kHz.. Their proprietary MCT input has also been added to the MHA150; when paired with the MCT450 SACD/CD Transport, it offers a secure DSD connection for playback of the high definition audio on SACDs. For connecting digital devices, an optical and coaxial input are included along with the USB and MCT inputs; two analogue inputs are also available. They have also included Headphone Crossfeed Director (HXD®) The MHA150 is smaller than McIntosh’s other amplifiers, it’s the same width as the MB50 Streaming Audio Player and the two can be combined to start building a complete system as the MHA150 can drive a pair of quality desktop or small bookshelf speakers via its 50 watt stereo speaker outputs.

The MHA150 is available to order now from authorised McIntosh dealers with shipping anticipated later this month. Suggested retail price (VAT, shipping and any customs duties related to current standards of individual countries are excluded): $4,500 USD.