“Send on the Subs!” – Exploring the Benefits of REL’s affordable subwoofers

Some hi-fi enthusiasts are sceptical, to say the least, that a subwoofer can improve the sound of a good two-channel system. But are they right to have their doubts? In this blog we explore some of the pros and cons of adding a sub to your system.

The first thing to note is that not all subwoofers are made equal. The vast majority of subs were and continued to be designed primarily for home theatre systems to provide slam and weight to movie sound effects. They often come as part of less expensive, high street speaker bundles.

Most of these AV subs are not particularly subtle. Their bass response will tend to be slow, undifferentiated and, for want of a better word, boomy. You might be happy with that for movies but you wouldn’t let them anywhere near your two-channel hi-fi system.

While clearly plugging a gap in the market, such units have given subs a bit of a bad rep in the hi-fi community. It’s understandable that some are wary of adding a subwoofer to their beloved systems.

But switch to a high quality sub, such as those made by REL, and the benefits are hard to ignore.

We’re focusing on the REL Serie T and Serie HT in this article - The T series comprising the REL TZero Mk3, the T5x, the T7x, the T9x and the T9x SE are all optimised for music.

REL t7x

The T series are certainly ready to rumble when an action movie demands it. It’s just that the HT series – the HT/1003 MkII, the HT/1205 MkII and the HT/1510 Predator – gives you more AV-focused bang for your buck.

Stuart Marchant, REL’s Business Development Manager for South East England and London, explains: “When sending an HT series an LFE (low frequency effect) signal they are on average 30 percent louder versus the equivalent model that focus on using ‘Hi-level’ as their main input. This makes all the difference when you want big powerful room filling impact and power.

The T series are equipped with a ‘Hi Level’ input and a unique filter system which delivers the whole frequency range and superior timing, this in essence makes the sub as fast as the main speakers - unlike most subs. It also delivers the tonal characteristics of the amplifier for complete integration.

The HT series units are also engineered with more powerful amplification than their T series equivalents with the HT/1510 packing a 1,000 watt amplifier compared to the top-of-the-range T9X’s 300 watts.

REL know it’s as important to match the correct amplifiers to the correct drivers regardless of power requirements. You can’t put a 1,000 watt amplifier in a T Zero as it will blow the driver. However, you do need a kilowatt of power and reserve to drive the 15-inch driver of the HT/1510 (Predator 2) in a dramatic cinema scene and do this with conviction.

REL HT1205

Diving deeper into bass

But low end power is not enough to make a sub truly convincing as an AV or two-channel performer. Speed is also important.

Bass counts for little if it isn’t fast,” says Stuart.

With a fast sub those bass and deep bass sounds are delivered with immediacy and have a realistic impact. When an explosion happens it should make you want to flinch or duck, as it would in real life.”

Placement of a REL sub can also make all the difference to the bass performance.

By placing the sub in a corner of a room near solid walls you get reinforcement of the bass. REL say that you gain an extra 3db for every flat surface that you can use as a boundary.

In effect it’s free power and enables the sub to extend deeper in response,” says Stuart.

Room size and layout affect bass frequencies far more than mids or highs because their wavelengths are so long.

Low frequency wavelengths can fold back on themselves causing bass cancellation points and bass nodes, or peaks, in all but the largest of listening rooms.

Unfortunately, these bass cancellation points can occur right where your listening position is.

The REL have a number of great articles including corner tuning your sub.

Not just about bass

A misconception is that a subwoofer is simply about improving the bass extension in your system. Yes a sub will do that, and then some.

But a good sub is also able to improve the soundstage, height, sense of space and scale by pressuring the room correctly, which underpins the mid and higher frequencies.

Bass and deep bass provide the foundations for music. When you hear this then music sounds more realistic,” says Stuart.

After all, when we listen to live music we hear all sorts of frequencies and some of them we feel, like the kick of a bass drum or the lowest double bass notes.

Proper bass allows you to process the rest of the music as it should sound. It allows us to calibrate the rest of the frequencies, improving tonality and soundstage.

Interestingly, having listened to many REL subs in our Portsmouth demo room, it is clear that even tracks with little or no bass or deep bass in them benefit from a sub.

Some of this maybe due to psychoacoustics, in other words the way we perceive the sound in our heads. But there are also physical effects, according to REL.

There are multiple frequencies contained in voices and instruments that one wouldn’t normally think of as containing deep bass,” says Stuart.

Think of the human voice. It exists primarily in mid-range octaves but within that there will be resonances, vibrations, reverberations, breaths and so on that contain lower frequencies.

A REL sub will help present more of that information giving you far more detail and nuance to the whole of the music, not just the bass.”

Set the controls for the heart of the bass

Tuning a REL sub, which includes the correct placement of the sub in your listening room, is something closer to art than science, according to REL.

REL T9X controls

It involves setting the hi/low and crossover controls on the back to the preferred levels so that the sub sounds right, enhancing the sound of a system rather than overpowering it with bass.

Having positioned your sub in your room and then tuned the controls on the back of the unit, we reckon that even the most hardened sceptics would find it hard to deny the improvement in sound.

I know. I used to be one of the sceptics.

Thanks for reading.

Alan - Audio T Portsmouth

REL have some excellent articles on tuning your sub this which make it pointless repeating in this blog.

And check out these videos on the REL YouTube channel:

  • Unlock the full potential of your audio system with REL subwoofers video

  • Q&A with REL’s Chief Designer John Hunter Video

If you have any questions about any of the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to contact us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Advance Paris hit the sweetspot with their keenly-priced active Bluetooth and streaming enabled AIR65 Connect speakers

When Audio T welcomed the arrival of the Advance Paris range of hi-fi components into our stores in August it was with a flurry of excellent product reviews.

But one product was rather overlooked – Introducing the AIR65 Connect Loudspeakers.

Advance PAris AIR65 Connect speakers

Overall, the Advance Paris range offers superb value for money by combining great sound and excellent connectivity. And the AIR65 Connect speakers fit right into that Advance Paris mould.

This is a pair of compact, active (2 x 55wpc amplification is built-in) speakers retailing for £500* (£550* for the Light Oak and Walnut finishes). They can be hardwired via optical and coax to a source and come equipped with a built-in (moving magnet) phono stage.

the air65s in light oak

Just add a streamer, or a CD player and/or a turntable from, say, the excellent Rega Planar range to create a multibox hi-fi system.

Or, for an additional £100, you can buy the AIR65s with the WTX Microstream streaming unit which plugs into the back of the speakers to create an all-in-one streaming system.

the wtx miscrostream turns the air65s into streaming speakers

It is an incredibly neat and versatile solution for those who want a pair of active speakers for relatively little money.

Value

Bearing in mind that many powered hi-fi speakers can cost serious amounts of money (like the awesome ATC SCM50 ASLs) then the AIR65s are astonishing value.

Ok, comparing a speaker like the AIR65s with the SCM50 ASLs would be like comparing a cheap runaround car with a luxury motor on the grounds that both have built-in engines.

But for tight spaces and budgets the AIR65s may be just the thing.

The Bluetooth sound from the AIR65s is pretty decent and hooking my phone up to the speakers was a doddle.

Listening

When playing the intensely bassy trance track Sonic Masala by Zentura (Sacred Circuits Vol 3) the Bluetooth sound was detailed and pleasingly weighty. Switching to the same track streamed (CD-quality 16bit, 44KHz) via the Microstream from Qobuz the sound was instantly cleaner and more detailed.

Listening to the air65 connects in the portsmouth demo room

The Bluetooth presentation of Honeymoon is Over by Malia (The Garden of Eve) had plenty of attitude and did justice to the singer’s wonderful bluesey rendition. Switching to a 24bit 96KHz stream of the same song on Qobuz added significant subtlety to the performance.

Alt-J’s track Get Better (The Dream) was very nicely rendered via Bluetooth with Joe Newman’s voice well projected and with great tone. A high-res Qobuz stream cleaned up the sound significantly, lowering the noise floor and allowing more of this sparse recording to be heard.

From sparse to frenetic, You’re Gonna Miss Me (2008 Remaster) by the 13th Floor Elevators is a gloriously raucous recording (it’s mono) in which everything in the recording studio (which appeared to have all the sound deadening of a tiled bathroom) felt like it was turned up to 11.

the air65s did a good job with the 13th floor elevators (image courtesy of International artists)

On Bluetooth the AIR65s did a great job at making sense of this noisy track. A CD-quality stream from Qobuz gave everything more polish, allowing you to hear more of what was actually going on musically – although part of me actually enjoyed this runaway train of a track more in Bluetooth.

The Long Ryders track Looking for Lewis and Clark nicely showed off the rhythm that these little speakers can bring to music, with the track’s pounding drum beat and driving guitar conveyed well via Bluetooth and streaming.

Conclusion

These are cracking little powered speakers at a great price. They offer better sound than most Bluetooth speakers around the same price, not least because the connecting cable between the two allows you to place them at least two metres apart giving you decent stereo separation, something that one box solutions would struggle to match.

The connectivity is excellent. Bluetooth, streaming (with the WTX Microstream plug-in or another third party streamer), digital in and even a built-in phono pre-amp give - all of which give you lots of options.

Of course these little boxes have some limitations due both to their size and their cost. However, you could easily imagine these speakers giving many hours of fuss-free musical enjoyment in a student accommodation, studio flat, in an office or anywhere else where space is at a premium.

Thanks for reading

Alan - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…



*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE

Refurbishing an ageing Linn LP12 - Rekindling the Magic of Music

The late great Tom Petty isn’t best known as a philosopher but he hit on something when he said:

“Music is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.”

It’s why we love hi-fi - not for the equipment itself, although it can be pretty darn cool - but for the way it makes music sound and how that music makes us feel.

These feelings have incredible staying power. Most of us can recall songs from early childhood, and long after loved ones have died music has the unique ability to rekindle cherished memories in an instant.

This was especially true for Jean Vernon, who sadly lost her husband Ken, a long-standing Audio T customer. Over the years, Ken had owned many excellent hi-fi components, but his Linn LP12 turntable held a particularly special place in his heart.

After many years of use, and a little customisation, the turntable was in need of some TLC and Jean approached us at the Portsmouth store to see if it was possible to bring her late husband’s turntable back to its former glory.

Luke Ward, store manager at Portsmouth and a qualified Linn LP12 service technician took on the task of refurbishing the turntable.

The underside of Jean and Ken’s Linn turntable

The deck had clearly enjoyed a long life,” said Luke. “So the first task was to strip down the deck to understand what was required.”

Most obviously, the wooden frame was showing a fair bit of wear and tear so I sanded down in stages from coarse to very fine sandpaper to ensure a smooth finish. An application of linseed oil then brought out the natural grain of the wood.”

The wooden plinth was showing signs of wear and tear

From then on it was a case of fixing and replacing some of the faulty components including the tone arm.

Ken had preserved a box full of Linn components, including an Ittok tonearm. This allowed Luke to install the arm and rewire the turntable, restoring it to its original specification.

Stripped down to the bare wooden plinth

It’s a lovely deck and clearly it holds many memories for Jean. It was a pleasure to work on it,” said Luke.

Jean was overjoyed to have Ken’s turntable back which looked and sounded fantastic, with all the detail and musicality that these iconic turntables are famed for.

refurbished and back to its former glory

We bought the turntable in the 1980s,” said Jean. “We have always had record players and the house was always full of music.”

I wanted to keep that going but the sound quality of the Linn was not what it used to be so that’s when I contacted Audio T.

Over the years, Jean and Ken had amassed an impressive collection of albums. Playing these records again now brings joy not only to Jean but also to her children and grandchildren, creating new memories while cherishing old ones.

I put records on almost every day and it is quite wonderful the memories that the music brings back. It makes me feel happier,” said Jean.

Some of the records I haven’t heard in years. My children and grandchildren will say they remember certain songs from when they were young.

My grandson also brought a Green Day record around the other day to hear what it sounded like on the Linn.

Going the extra mile for our customers is at the heart of everything we do at Audio T.

In the case of Jean and her late husband Ken’s turntable, it’s rewarding to know that we’ve helped to restore not just the equipment but also a little of the magic Tom Petty spoke about.

If you have a Linn turntable in need of servicing or are curious about the latest products on the market, we’d love to help. Get in touch with us today to explore your options and keep the music playing beautifully!

Thanks for reading

Alan and Luke - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…


Linn can be found at the following Audio T stores

Wired for sound: Focal's hard-wired headphones deliver audiophile thrills to suit a range of pockets

Focal Celestee (Photo Credit: Focal)

Tom Gooderidge, Naim’s UK Sales and Training Executive, recently paid us a visit at the Portsmouth store and brought four sets of Focal headphones for us to listen to: the Azurys, the Clear MG, the Stellia and the Utopia. We share our views on these quality wired headphones.

Bluetooth headphones are having a moment thanks to the ubiquity of powerful mobiles, streaming services and high-res BT codecs such as Qualcomm aptX HD and aptX Lossless.

A number of Bluetooth-enabled headphones from brands such as Bowers and Wilkins, Cyrus, DALI, Sennheiser, Sonos and Focal themselves give us genuinely high quality listening experiences wirelessly and on-the-go.

But, for many hi-fi enthusiasts, wired headphones plugged into a good headphone amplifier are still the way to go for a truly high-end listening experience.

Focal, the French speaker manufacturer and now parent company to British hi-fi legends Naim, offer a range of headphones, including the award winning Bluetooth Focal Bathys. But it was their wired headphone models that we recently had the pleasure of listening to in the store.

Meet the family

We used a Naim Uniti Star to power the Azurys and the Clear MGs before switching to a Naim Nait 50 and a Naim ND5 XS2 combo for the remaining two.

Azurys

At £499* the Azurys sit at the more affordable end of the headphone market competing against the likes of the Sennheiser HD660 S2 model. They are well made with a leather headband and textile-covered earpads.

Focal azurys, closed back wired headphones

As closed-back headphones the Azurys deliver good isolation and, at just over 300g, they seem suitable for on-the-go listening. Generally, you tend to get a bassier, fuller sound from closed-back headphones compared to open backs. Open-back headphones tend to offer a greater sense of space around the music and less weighty but sometimes tighter bass.

The Azurys certainly have a weighty low end, but it is not overpowering. There is a decent sense of air and space for a closed-back headphone, no doubt thanks to their rigid aluminium/magnesium drivers.

Clear MG

Switching to the open-back Clear MG there is an obvious step up in the appearance, feel and weight (450g). These £1,299* headphones exude quality with their metal, leather and suede-like materials. The listening experience is high quality too.

Focal clear mg place you in the music

They incorporate all magnesium drivers (hence the MG in the name) which are designed to deliver a faster, more precise sound than the Focal Clear models that they replaced. The soundstage is larger than the Azury and there is greater clarity and transparency.

The Clear MG do a great job at placing you in a space in which music is playing as opposed to playing the music between your ears. Bass is articulate, tuneful and well-integrated. Micro-details are well presented, and voices and instruments have excellent tonality.

Stellia

The Stellia headphones were next up and shifted us back to a closed-back design, incorporating Focal’s electrodynamic pure Beryllium M-dome speaker to give improved lightness and stiffness compared to many other materials. The metal and leather construction of these £2,899* headphones is classy.

Focal Stellia are a class act

There is an immediate improvement in the attack and detail of the music played through the Stellia. Vocals have the power to surprise, occasionally shock, because they are so immediate and accurate. You are placed in the studio in front of the singers while guitars and other instruments are rendered with wonderful realism. Bass was beautifully reproduced with real weight and speed.

Utopia

It was now the turn of the Utopia and, frankly, we wondered if and how the excellent Stellia headphones could be bettered. The Utopia also have the Beryllium M-dome drivers. Their carbon fibre, metal and leather construction is high tech and luxurious.

These £4,699* headphones did not disappoint. As open-backed, as opposed to closed like the Stellia, they were fantastically honest and engaging. The sound staging was superb. There was an almost tangible sense of the studio or venue in which the music was recorded. Their openness was such that it felt like listening to a pair of high end speakers in an acoustically engineered room.

Focal utopia luxurious and high tech

Instruments and vocals were startlingly real, rendered with a tonal authenticity that was gripping whether it was the raw leading edge of guitar chords, the physical rap of a snare drum or the micro-tones within a single synthesiser note.

Headphones like the Utopia, Stellia and even the Clear MG deserve a good headphone amp, ideally a stand alone unit.

It’s said by some in hi-fi circles that to get the same sound produced by a pair of high quality headphones (with good quality headphone amplification) you’d have to spend two or three times the amount on speakers.

It is true that a pair of decent headphones may give you the detail and a bass response that a modest pair of speakers might struggle to match. But in our experience speakers will give you a greater soundstage and space, allowing the music to propagate and breathe in your room (although, as we know, rooms can create their own problems for hi-fi enthusiasts).

So, music played through headphones isn’t necessarily better nor worse compared to speakers. It’s just different. However, having said that, the Stellia and, particularly, the Utopia headphones come as close as we have heard recently to recreating that open sound you get from speakers – and then some.

Check out Audio T’s range of Focal headphones

Thanks for reading

Alan, Stephen and Luke - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…


Focal can be found at the following Audio T stores


*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE

Ohm my goodness! Watt amp to pair with my speakers?

A frequent consideration for many entering the world of hi-fi is how to choose speakers to match an amplifier or vice versa. But, unless you have a basic understanding of how electricity works, it can seem a little daunting. In this month’s blog we aim to provide some information and guidance in clear, not-too-technical English to better help you make informed decisions when choosing your next system.

When looking at purchasing new speakers and/or an amplifier, some people focus on trying to match the stated power handling of speakers to their amp’s stated power output.

Whereas a manufacturer may state that a particular model of speakers has a power handling of such-and-such watts. Sometimes speaker manufacturers will state a recommended amplifier power range, for example 30-150w. Amp power output, meanwhile, is usually stated in watts per channel (wpc).

The best bit of advice we can give is don’t get overly hung up on trying to achieve the perfect marriage of watts. And here’s why…

Power Handling

Firstly, there is no single standard method for calculating power handling for speakers. Manufacturers calculate the power handling of their speakers using different approaches. It is therefore hard to say with any real certainty whether a speaker from Manufacturer A rated at 150w can cope with 50 more watts than a speaker rated at 100w from Manufacturer B.

There are actually different types of power ratings for speakers, including RMS, Max, and Peak. RMS (root mean square) is the most reliable measure of a speaker's power handling as it refers to its ability to handle continuous power, while Peak is not a reliable indicator of overall performance.

The second, and perhaps more important thing to remember, is that the power handling of a given pair of speakers does not mean that your speakers will sound terrible with an amp with an output lower than the recommended power handling figure. For example, if a pair of speakers are rated at 120W and an amp at 100w per channel, the amp (assuming it’s of decent quality) will most likely have no problems at all driving those speakers.

Nor does it mean that the speakers will blow up if you wire them up to an amp whose power output is slightly higher than the recommended power handling. In fact, as a general rule, it is better to use an amp that, on paper, outputs more watts than a speaker is rated for than to use an amp that is very underpowered. More on that later.

Resistance

The third thing to remember is that the stated power output of an amplifier is related to the nominal resistance of the speakers, expressed in ohms (Ω), that you are looking to drive. It’s why amplifier outputs tend to be stated as 100w into 8Ω, 150w into 4Ω and so on…

The Rega Elex delivers 72W into 8 ohms and 90w into 6 ohms (PHOTO CREDIT: REGA RESEARCH LTD)

The lower the ohms, the lower the resistance and the greater the load presented to the amplifier. The load determines the current that speakers draw from the amp – the lower the resistance, the more power drawn and the harder the amp has to work. It’s why the watts output by an amp increase as ohms decrease.

It is also worth remembering that the resistance of every pair of speakers varies across the frequency range. For instance, a speaker with nominal resistance of 8Ω may present your amp with loads as low as 2Ω and as high as 16Ω at certain frequencies and according to the dynamic demands of the music being played this can make the speaker hard to drive.

So, all other things being equal, an amp rated at 80w into 8Ω, for example, will have to work harder to meet the load presented by a pair of 4Ω speakers. However, a quality amplifier with a decent power supply will have plenty of headroom and so 4Ω speakers shouldn’t present too much of a challenge.

Sensitivity

Of course, all other things are not equal. And sometimes, when focusing on watts we can forget about speaker sensitivity which is expressed in decibels (dB) e.g. 87dB. Sensitivity is important when considering what speakers or amp to buy.

What that decibel figure shows is the level of sound output by a speaker at one metre’s distance using one watt of amplifier power. Basically, it is a way of measuring how efficient a speaker is at turning electrical power into sound.

Most modern speakers tend to fall into a range from 80dB to 100db. The higher the figure the more efficient the speaker.

Modern speakers like the Acoustic Energy AE309s are relatively easy to drive (Photo credit: Spendor)

So, an amplifier rated at 100w into 8Ω ought to drive a pair of 8Ω speakers with a sensitivity of 92dB to high volumes with ease and with little or no distortion.

But that same amplifier will have to work harder to drive a pair of 4Ω speakers with a sensitivity of 84dB to the same volumes. In other words you may have to turn up the volume to get the same level of sound.

This is fine if your amp has sufficient power reserves to cope with a more difficult speaker load. But you can run into problems if a low-powered amplifier is being asked to drive a pair of inefficient speakers to high volumes.

Return to the subject of Power

Remember we said we’d come back the point about it being better to over-power than under power your speakers? Well read on…

To recap, we recommended you don’t get too hung up on matching amp output in watts to the power handling of speakers

However, as a general rule, choosing an amp with an output at the top end or even beyond the recommended speaker handling figure is better than running an amp at the lower end of, or below, a speaker’s handling capacity.

Tube amps like the audio note conqueror, delivering 8w into 8 ohms, sound wonderful but may not be the best choice for hard-to-drive speakers (Photo Credit: Audio Note UK)

The reason, as we alluded to at the end of the previous section, is that a low-powered amplifier may struggle to drive a demanding speaker load (e.g speakers with low sensitivity and low resistance) to high volumes. It may even result in the amp clipping if it is required to deliver more power than it is designed for. Clipping simply refers to the ‘clipped’ or cut off waveform produced as shown on an oscilloscope when this happens. The result is distorted sound, and serious and prolonged clipping can damage both amplifiers and speakers.

A clipped WAVEFORM (IMAGE CREDIT: THE PRODUCTION ACADEMY)

On the other hand, it is also possible to damage a pair of speakers when driving them at too high volumes with an amp that delivers massively more power than is recommended for those speakers.

Now, many modern speakers can handle 100w or more comfortably, even entry level models. And most reasonably priced amps tend to sit in the 50 to 150wpc range. So most comparably priced amps and speakers will be compatible power-wise. And you should have no problem using an amp that can deliver around 50% more than the recommended power handling of a pair of speakers. For instance, a pair of speakers rated to handle 100w then an amp delivering 150wpc will drive then with no issues. Although it would be unwise to turn the amp up to maximum.

However, turning up the volume on an amp delivering loads more power – let’s say 2,3 or more times the recommended handling power of the speakers – would likely overheat the coils in the drivers and/or cause so much mechanical movement that the driver starts to thump in its assembly.

Conclusion

The reality is that many modern amps and speakers, in roughly the same price bracket, are compatible in terms of power output and handling.

There exceptions however. For instance, the Musical Fidelity M8s 500S Power Amplifier which outputs a potentially driver melting 500wpc into 8Ω.

Musical fidelity M8s 500s is a power house ampc (PHOTO CREDIT: Musical Fidelity)

So, as long as you are not trying to hook up a pair of sensitive stand mounters to pair of monster monoblock amplifiers - and, let’s face it, why would you - you will most likely be fine.

If you are in any doubt you can just ask a member of the Audio T staff.

Once you have laid to rest any doubts you may have had over amp and speaker compatibility then you can then get to the most important part of the process - and that is listening to them in one of our bespoke demo rooms!

As we know, just because an amp and a pair of speakers are technically compatible on paper, this tells you very little about how they will sound together, much less about whether you will like that sound.

At the end of the day, hi-fi is all about the music and how your equipment reproduces that music for you rather than technicalities of watts, ohms and decibels.

So, don’t be shy. If you are considering a new amp, speakers or any component and want some advice give us a call on 0239 266 3604 or email and we can get you booked in for a fun, free and no obligations demo.

Thanks for reading

Alan, Stephen and Luke - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Sacre Blue! VUs, valves, vivid sound and value-for-money herald a French Hi-Fi invasion

It’s an established brand name that most of us in the UK have probably never heard of. However that’s all about to change…

There is a buzz of excitement running through Audio T at the moment as all stores have recently taken delivery of demonstration units in the Advance Paris range which you can also read about in other Audio T shop blogs.

At Portsmouth, we have been fortunate enough to secure the popular mid-range A10 Classic amplifier, the WTX-StreamTubes network player, the XCD9 CD player as well as the Air65 Connect active network speakers.

Advance Paris? Well, they have been manufacturing hi-fi since 1995 and sell products in more than 40 countries. However, it’s fair to say that the French company are yet to secure a high profile this side of La Manche. Now, with a new UK distributor, that is set to change.

In fact with so many products in their range - from all-in-one systems, amps, streamers and even cables - it may feel a little like a French hi-fi invasion. Especially with the keen pricing and brand’s focus on bang-for-buck.

Let’s take a look…

First impressions of their amp, streamer and CD player are very positive. All units in the Advance Paris range are classy-looking in a modern-yet-retro way (thanks to valves and VU meters) and are well-built.

WTX-streamTubes, a10 and xcd9

The A10 is no exception. The unit is reminiscent of amps from US manufacturer, McIntosh in terms of its twin blue-lit VU meters sitting behind a glassy fascia.

The A10’s twin VUs and valves

It’s not a case of style over substance either. The A10 is a sizeable unit weighing in at just under 15kg. There is grunt aplenty from this class AB amp which delivers 130W into 8ohms.

The A10 is well-furnished with connections including six analogue, a moving magnet (MM) phono stage, five digital inputs and three USB inputs. There is also a connector for an optional aptX XFTB01 or XFTB02 bluetooth receiver. There are a couple of HDMI connectors, including an Arc, and two sub outs. A 6.35mm headphone socket sits on the otherwise uncluttered front.

The rear of the A10

Unusually, and in common with many other Advance Paris products, there is also a valve-driven preamp stage. Apart from looking pretty exotic, these little glowing valves are designed to play an important part in the sound reproduction.

The warm glow of the A10’s twin valves


The proof is in the listening…

In our first listening session in the Portsmouth demo room we had the A10 driving a pair of Spendor A7s. Not the hardest speakers to drive, although they really sing with the sort of current supplied by more powerful amps like the A10.

Our first impression of the A10 was that it delivers a surprisingly fluid and detailed sound. Many amps take a bit of running in to lose that box-fresh brittleness in their sound.

The lack of initial harshness may be, in part, due to those valves in the A10’s pre-amp stage. It may also be the class AB push-pull amplification that imparts this silkier-than-expected tonality. AB amplification combines lower distortion class A amplification with higher efficiency class B to give a natural sounding amp that doesn’t generate as much heat as pure class A.

There is even a switch on the back of the unit which allows you to engage a higher bias towards A class amplification. While there isn’t much of an obvious immediate difference when switching to high bias there was a slight dip in volume combined with a sense of a more natural presentation. We chose to leave it in high bias.

The A10 runs pretty warm as you’d expect with any valve technology - high bias just makes the casework that little bit warmer. This amp ideally needs a bit of space around it.

Already impressed, I took the A10 home for an extended weekend audition. I swapped out my tank-like Parasound A21 and, by comparison, the pretty chunky A10 looked positively compact. And, at almost half the weight of mine, the A10 was far less of a back breaker to move.

The first impression was that the A10 was noticeably brighter than my amplifier. Not surprising perhaps given newness of the Advance Paris electronics compared to my well and truly run-in unit which is about 20 years old.

Had my system lost some of its warmth with the A10 in place of the Parasound A21? Probably. But this likely says more about my amp than the A10. In car terms, I see my old amp as a vintage American muscle car: in other words, bags of raw power with a lovely V8 sonic burble to it (figuratively speaking, obviously), but not so agile on the twisty stuff.

The A10, fed by a Bluesound Node running into a Naim DAC-V1, coaxed another level of detail and precision out of my Spendor A5Rs. That double cymbal strike in the slow-build intro to AC/DC’s Hells Bells (Back In Black) had never sounded so defined on my system.

Robert Plant’s vocal (and backing vocals) on Fallin’ in Love Again (Band of Joy) were better projected and three-dimensional through the A10. The soundstage on the track Nerds on Mushrooms, by electronic duo Infected Mushroom, was vast and the detail stunning, all anchored with a thunderous bassline thanks in part to my REL T/Zero sub.

José Carreras singing Agnus Dei in the Misa Criolla was spine tingling. Don’t get me wrong, this track sounds very good indeed through my amp. But the A10 lent a fresher tone to Carreras’ voice, perhaps it was as much to do with there being more perceived space around his vocal. This sense of space around instruments and vocals is something the A10 projected very well.

Conclusion

I thoroughly enjoyed the A10 both in store and in my personal system. In terms of the detail, the sense of space in the music and the size of the soundstage the A10 simply delivered more.

More than once, while listening to the A10, I had to remind myself that this amp only costs £2,000. Ok, only is probably not the right word since £2K is a lot of money. But the thing is, the A10 sounds and looks like an amp that might easily carry a price tag of £3,000 or more.

The A10 embodies the Advance Paris commitment to quality and value-for-money. If you are in the market for a mid-range integrated amplifier with plenty of power, tremendous connectivity, deeply impressive sound and lush looks to match then the A10 certainly ought to be on your demo shortlist.

Thanks for reading.

Alan, Stephen and Luke - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…


JBL launches its new range of AV receivers

The new JBL MA range brings something new to audio visual processing and amplification. The high spec, value-focused range consists of five models: the MA310, MA510, MA710, MA7100HP and MA9100HP.

The range comes in both black and white-fascia models all with a snazzy orange accent behind the front plate and also around the base of the feet. The units look unfussy and modern.

JBL MA9100HP


We’re focusing on the baby of the range here, the £499 MA310. Yes, that’s correct, £499!

JBL MA310


In common with it’s bigger brothers the MA310 packs Class D amplification under the bonnet, in this case pushing out 60W into two channels at 8ohms, or 100W at 4ohms.

It’s a 5.2 receiver meaning you can run two front speakers, a centre speaker, two rears and two subwoofers. It has four 4K HDMI inputs and an HDMI Arc out.

There are additionally two pairs of analogue RCA inputs plus coaxial, optical and USB inputs. There is Dolby and DTS decoding and DACs can handle high res up to 192kHz 24-bit.

JBL MA310 rear

It doesn’t seem like a massive spec until you remind yourself that this is a sub-£500 AV receiver. You may well ask, how many more inputs and outputs do I really need?

JBL MA range remote

After all, with the MA310 it is possible to create a full 5.1 surround system that will leave every sound bar out there in its dust. And potentially, depending on your choice of speakers, you can have this for around £2,000.

That’s a lot of surround sound real estate for a very reasonable investment.

Added to which the MA range comes with free EZ Set EQ app (iOS and Android) which can optimise the sound for all connected speakers. There is on-screen display for easy set up. And it is Bluetooth enabled for music replay from a suitably enabled device.

The MA range offers a natural upgrade path.

Stepping up to the MA510 gives you 75W RMS, an eARC and HDMI 2.1, HDR10+/Dolby Vision and WiFi.

JBL MA9100HP

The MA710 additionally gives you 7.2, 110W, Dolby Atmos, 6xHDMI, APTX HD Bluetooth, a zone 2 pre out options, biamping. The MA7100HP has 125W, 2 HDMI outs, 3xOptical, an MM phono stage Dirac Live, colour LCD and built-in ambient lighting. The MA9100HP offers 9.2 channels and 140W.

Thanks for reading.

Alan, Stephen and Luke - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…



*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE

Time capsule turntable is a real treat

When Philip Atkinson walked into the Portsmouth shop carrying a yellowed Rega box we assumed it contained another much-used Planar deck in need of some TLC…

We get quite a few customers in the Audio T Portsmouth store looking to buy a turntable because they sold their old deck many years ago, and in some cases all their vinyl too, in the belief that CDs were the only future for hi-fi.

Others come in with old decks they haven’t listened to in a few years and want us to give them a service to get them sounding as good as they did when new.

And then there are the dedicated vinyl enthusiasts who bring their treasured and well-used turntables in for regular servicing.

But, as far as we can remember, no-one has ever come in with a 33-year-old turntable that not only have they never played but they have not even unboxed since they bought it!

Until now.

When Philip told us he’d never unpacked the deck since buying it in 1991 we did a collective double take.

the yellowed Timecapsule rega box

Looking at the yellowed Rega box, he explained: “I bought it from Chichester High Fidelity and I didn’t open it because we were moving house.

When we moved I put it in a spare room and I just never got round to opening it and setting it up. I just moved onto CDs.

Fortunately I kept all my old records. Some date back to the 1960s. So, I thought it was probably about time I finally got the turntable up and running. But I did think that Audio T better check everything was in working order first.”

Remember when hifi cost this much?

Philip kindly shared the original receipt from Chichester High Fidelity with us. Those of you who recently bought new hi-fi may want to look away now. The total cost was £271, including a Linn K5 cartridge, 10 metres of QED cable (terminated with banana plugs) and only 15% VAT!

The bargain of the century in today’s prices! But remember that the average full-time salary in the UK in 1991 was around £12,000 a-year. And, just for reference, it’s worth bearing in mind that in 1991 John Major was Prime Minister, Freddie Mercury died and Nirvana released their landmark album Nevermind. In other words, it’s quite a long time ago!

The first-time unboxing of a time capsule Planar 3 a third of a century after its purchase is not something we get to do every day. So we proceeded carefully, joking that like an ancient Egyptian mummy the whole thing might crumble to dust on contact with the air.

Everything was neatly packed and wrapped as it would have been the day it left the former Chichester High Fidelity shop. There was even the old Rega hints and tips sheet in the box that they used to send with every turntable. Rega tell us that they stopped issuing hints and tips sheets in the early 2000s!

Longterm Rega customers may remember these sheets

The chaps at the former Chichester High Fidelity had already set the deck up which is exactly what we do at Audio T with modern Planar 3s. This involves checking that the cartridge is properly fitted, including setting the correct tracking weight.

The first thing we did after setting it up was give it a spin, eager to hear what a 33-year-old, but effectively new, turntable sounded like.

Remarkably, it sounded very good indeed. Testament to Rega build quality, not to mention the Linn cartridge.

The linn k5 cartridge fitted in 1991

Nonetheless we carried out a service. The drive belt had gone egg-shaped after three decades in one position and the compound was also slightly degraded, so we replaced it. We checked the turntable speed which was pretty accurate. However we also cleaned the sub-platter bearing assembly. The oil had become yellowed and tacky over the years which along with the old drive belt was affecting the speed slightly. We then checked and adjusted the tracking weight.

So after 33 years in its box Philip’s Planar 3 is again in tiptop condition and ready for him to finally give his records their first spin on his new(ish) deck.

Ready for action 33 years later

Thank you Philip! This was a rare treat indeed.

Don’t forget that we’ve extended our popular free turntable healthcheck, so if you want us to look at yours, be sure to contact us.

Thanks for reading.

Alan - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…


Cable guys for a day - A visit to Chord Company HQ

First founded in 1985, Chord Company enjoys a global reputation for quality products that can enhance the sound of any Hi-Fi or Home Cinema system…

If you cast your mind back to last year, you may recall that we wrote about Chord’s English Electric Ethernet Switch, PowerHAUS P6 mains distribution block and their BurndyX cables for Naim systems in our November blog.

For those of you that read the article, you’ll know that we liked these products a lot! Each of them improving the sound we got out of our reference Naim 300 series.

So we were delighted when the kind people at Chord Company invited the Audio T Portsmouth team to spend a day at their Amesbury headquarters in order to learn more about their products and manufacturing processes.

Chord Company HQ

Organised

The first thing that struck us was the smaller-than-expected Chord set-up. Given the global reputation and reach of Chord Company cables, I suppose we were expecting a football field-sized factory.

Looks can, however, be deceptive, and inside the modern industrial units at Chord HQ it was clear that this was a highly organised, highly efficient operation.

Chord warehouse

Our guides for the day were Chord’s Southern UK Sales Rep, Ian Kemsley, and Bill Fraser, UK Sales.

Hands-On

After a quick tour of the immaculately organised warehouse and fabrication rooms we were led to some free workbenches and told that our task for the morning was to make some EpicX Aray RCA interconnects and a length of EpicX speaker cable.

Our workbenches for the day

Together these cables, at the lengths we were making, retail at close to £1,000. So, no pressure then!

We tackled the EpicX Aray RCAs first. The Aray technology addresses the internal mechanical noises inherent in all cables.

Chord Epic X Aray RCAs

The precision required to solder the RCAs onto the various cores in the cables was a real test of hand-eye coordination, something that Chord’s Production Technician, David Shannon, made look way easier than it was.

Next up were the Epic X speaker cables. These use the ChordOhmic plugs. The plugs are micro-welded to the cable by using the ChordOhmic Hex Gun tool which applies huge amounts of pressure to create the weld. Both the cables and the interconnects are heavily shielded and coated in XLPE (cross-linked polythene).

Chord Epic X speaker cables fitted with chordohmic plugs

Under the guidance of David our cable making results were pretty good, even if we do say so ourselves.

The proof is in the pudding…

After lunch we decamped to the listening room to hear some Chord cables in action, specifically Chord’s top of the range ChordMusic cabling, using tuned aray technology and Taylon insulation. They connected a Moon Mind network player, to a Chord Electronics Dave, and Bonnec Pre and Power amps powering Bowers & Wilkins 803 D4 speakers.

chordmusic cables

Needless to say they sounded superb, the ChordMusic cables allowing the musical detail to shine.

Sound Advice

Ian was a veritable font of knowledge and useful advice about cabling. Perhaps his most interesting tip was to remove all non-essential cables from your set-up. Ian left one end of an ethernet cable plugged into an English Electric ethernet switch. The other end was left dangling.

We were sceptical that leaving the ethernet cable plugged into the switch would make any appreciable difference to the sound. Ian played part of a test track with the cable in, then removed the cable and replayed the test track. Surprisingly, there was a clearly audible improvement in the sound stage and detail.

Ian explained that all cables can act as aerials and can introduce interference into a system which affects performance, meaning you hear less of the music. So, we should all do our systems a favour by unplugging all unnecessary cables!

Interference and noise is why quality manufacturers like Chord pay so much attention to shielding on their cables.

Having recently introduced a pair of Chord EpicX speaker cables into my own hi-fi system, I can vouch for the positive difference good cabling makes to a set-up.

Chord epic x speaker cable

As Ian said: “Think of your cable loom as another component in your system, like an amp or a streamer.

People tend to match components by quality and, by extension, price point. We wouldn’t generally match our mid to high-end source component with a significantly less expensive amplifier.

The same holds true for cabling. It allows your system to perform to its full potential.

Sound advice. So, if you are happy with the system you have currently, but wonder if you can squeeze even more performance out of it then it may be worth upgrading your cabling. You may be surprised at the difference they can make. Check out Audio T’s range of cables here, and get in touch to arrange a home demonstration.

Thanks for reading.

Alan - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…


Naim and Dynaudio create sonic magic at Audio T Portsmouth

A very special day was had by all attending the Naim & Dynaudio listening event we held at Audio T Portsmouth on 18th April. Customers who signed up to the event were treated to an exclusive demonstration of the superb Naim 300 series and Dynaudio’s awesome Confidence 50 speakers.

Star turns

Jason Gould, from Naim, and Bill Livingston, from Dynaudio, had star billing and led three sessions throughout the day.

They kicked off each session by telling our guests a little about the products and then guiding them through a structured listening session.

Jason Gould, Naim

Jason talked guests through the quality of sound delivered by the Naim Uniti Core music server which makes bit-perfect rips of your CDs allowing for better-than-CD quality streaming.

This fed into the Naim NSS 333 streamer and then into the Naim NAC 332 pre-amp. Amplification was supplied by a pair of NAP 350 mono block power amps.

Naim 300 series

Bill then explained some of the history, philosophy and process behind the design of Dynaudio speakers, including the Confidence 50.

The Confidence range are the result of a ground-up process that saw Dynaudio rethink, redesign and retest every component for optimum performance at the price point.

Bill Livingston, Dynaudio UK

Then the serious listening began.

Our guests first heard tracks played via the Naim Uniti Core into the NSS 333, NAC 332 and the NAP 350s.

Big sound

The sound through the big Dynaudio was as expansive, revealing and weighty as you might expect from a system with a combined retail price north of £60,000.

Jason then added a Naim NPX 300 power supply to the NSS 333 streamer and guests listened to the same tracks.

Jason about to add an NPX 300 into the mix

The music immediately sounded more textured with better presentation of microdetail and also enhanced tonality of the voices and instruments. We not only heard more of the music but also more of the space around and between the voices and instruments.

The next step was to add a second NPX 300 to the NAC 332 pre-amp.

Next level

With almost £12,000 of power supply now feeding the streamer and preamp this now £70k-plus system took another step towards musical nirvana.

What was striking about the system was the immediacy and intimacy of the presentation. The music sounded alive.

Singers were virtually present in the room, their voices rendered in all their glory, their imperfections, their strengths and their vulnerabilities. Instrumental tonality became three dimensional, for example what seemed like a single solid bass note was clearly revealed as two, while the snappy rap of the snare drum regained so much of the bite it would have in reality.

Hearing is believing

It is easy to wax lyrical about the way high-end systems reproduce music but, in reality, no amount of words are adequate substitute for listening. Hearing really is believing.

The Naim 300 series remains on demonstration along with the Confidence 50 speakers at Audio T Portsmouth. So, if you missed our event and want to hear for yourself what this incredible set-up sounds like, then contact us and we will happily arrange a demo for you.

For more on the Dynaudio Confidence 50s read our blog from August 2023 below.

Thanks for reading.

Alan - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…


What sounds better: streaming or CD?

It’s a good question and one we are often asked. And, as with much else in hi-fi, the answer is (you guessed it) not straightforward. We’re leaving vinyl, and its particular sound qualities, out of this blog (one for the future perhaps).

Ultimately, as with any hi-fi component, it boils down to what sounds better to you. And for that you need to listen to products before you buy. This is why Audio T stores are all equipped with demonstration rooms and we are more than happy to set-up listening sessions for our customers.

portsmouth demo room

That said, perhaps we can help shed a little light on streaming versus CDs without, hopefully, becoming too bogged down in the science…

On the face of it…

The first, most obvious, thing to note is that while standard CDs are limited to 16-bit/44kHz, high resolution (or high definition if you prefer) music is commonly streamed at 24-bit/96kHz or 192kHz.

In general terms, the more bits the greater the dynamic range. The sample rate at which the music was recorded is measured in kHz. So, 44kHz is 44,100 samples per second. A sample simply being the readings that the analogue to digital converter in the studio takes to produce a copy of the music. In general terms, the more samples the more information in the copy.

So, on paper, a high res stream will contain more information and have greater dynamic range than music played at 16-bit/44kHz. This does not necessarily mean it will sound better.

A poorly recorded or remastered track will still be a poorly recorded track regardless of the number of bits or the sample rate. In fact, a poor recording can sometimes sound worse played in high res on a good system simply because you’re hearing more of that bad recording!

Ripping

First, let’s look at streaming a CD that you have ripped to a hard disc drive, either in your computer or network attached storage drive (NAS).

Jason Gould, Brand Ambassador for Naim Audio, explains that CD players work on a system of real-time data retrieval, using error correction where required to reconstruct the digital information accurately.

If you make a bit-perfect copy of a CD then, in a quality machine like the Naim Uniti-Core, the Innuos Zen Mk3 or the Bluesound Vault 2i the streamer will not have to contend with real time data retrieval using error correction.

NAIM uNITI-cORE

The answer relies on certain parameters being in place, but the short answer is that streaming a properly ripped CD is superior,” Jason says.

It provides a bit perfect data package with all of the guess work taken out of error correction. The net result being a much more faithful rendition of the given music programme.”

So, says Jason, depending on the quality of the components being used you are better off making bit-perfect copies of your CD and playing via a quality streamer than using your CD player.

Streaming

But what about music played via a streaming service (e.g. Tidal or Qobuz) vs CD replay? Theoretically, a 16bit/44kHz CD is sufficient to capture all the information and frequencies that a human ear can detect, and beyond.

In this scenario it seems that a good CD player may have an edge over streaming via streaming service at 16bit/44kHz. And a good CD player may even compete well against high res streaming.

Nick Clarke, Managing Director at Cyrus Audio, says: “All things being equal then there would be no difference between a CD and a streamed 16/44 audio track. However, in the real world, not all things are equal.”

Nick explains that streamers get their data in blocks or packets that are passed over the network which is a possible source of noise. These packets are placed in a buffer for decoding. Finally, the uncompressed audio is pulled from the buffer as a continuous stream of data

By contrast, a high quality real-time read-back CD player, such as the Cyrus Servo Evolution engine (as found in the Cyrus CDi), extracts the data from the CD as a continuous bitstream with no timing breaks,” says Nick.

Cyrus Cdi

This is an inherently less noisy process than the block processing required in all streamers. Even higher resolution playback can be affected in this way.”

“Not all CD players operate like that”, adds Nick. “Some use a computer USB drive and treat the disc as a data file, and work similar to a streamer, bringing with it the same noise and timing issues. The advantage is that this process allows the player to read lower quality or heavily damaged discs as there is sufficient time between the block processing to inter-populate the missing information.”

Other factors

Of course streaming comes with huge benefits in terms of sheer convenience and being able to explore a vast library of music. Then again if you subscribe to a streaming service you will never own the tracks and albums, unless you buy the music. Added to which, for many, choosing and listening to a CD while reading the sleeve notes is more of a musical occasion, akin to playing a record.

Ashton Wagner, Electronics Design Coordinator at Rega Research Ltd, sums it up well: “Assuming we are starting with the same 1s and 0s then, the only other way we can get any changes is in how we treat the 1s and 0s on their way to our ears.

But a big part of the hi-fi hobby for me is collecting, listening to, and cataloguing different versions of albums, both on vinyl and digital (I’m a hoot at parties, I swear).

The subjective differences in sound quality are sometimes subtle and sometimes considerable. Restricting oneself to either CD or streaming often removes options.”

Wiim Pro

Conclusion

The advent of CDs in the 1980s was widely thought to spell the end for records. And yet 40 years later, vinyl not only remains popular among hi-fi enthusiasts but has undergone a resurgence in popularity, including among younger generations.

There is little reason to think that, even as streaming technology and equipment improves, streamed music will mean the end for CDs any time soon. Indeed, according to recent reports, CD sales rose in 2023 for the first time in two decades.

CDs offer a different listening experience and, in the real world, a good CD player can more than hold its own against music streamed at 16-bit/44kHz, and even give high res streaming a run for its money.

Ripping your CDs and streaming them bit perfectly may offer some sonic advantages over playing them live, as it were. Storing your CDs digitally may also make playback more convenient and will allow you to declutter.

Streaming a well-produced track in high res 24bit/96kHz, or higher, via a good quality streamer will tend to provide more musical information than the same track streamed at 16/44 or played on a standard CD.

Audiolab 6000N play

You may be able to hear that difference. But whether it sounds ‘better’ is another matter.

Jason, at Naim, says: “The caveat to this is that 44.1 and high res, is best listened to, when downloaded from the chosen site, Qobuz and Tidal, for example. Bit rates aren’t always consistent when streamed on the ‘fly’.

“When engaging in 44.1, we believe that ripped compact disc is still best and typically native high resolution recordings favoured over remastered versions of earlier recordings.”

Options

Streaming is becoming ever more popular in the hi-fi community, driven in part by the number of quality products available on the market.

If you’re just starting out with streaming then check out the Wiim Mini, Wiim Pro, Wiim Pro Plus or a Bluesound Node 3 or Audiolab 6000N Play. Great options for a streamlined streaming system include the Wiim Amp and the Bluesound Powernode 3, in both cases you only need to hook up a pair of speakers.

Bluesound Powernode 3

There are many other great streaming products available and you can check these out on the Audio T website.

If you want to audition any of our streamers then please call us on 02392 663604 or email us at portsmouth@audio-t.co.uk

Thanks for reading.

Alan - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…


There is nothing like a dem, nothing in the world…

As hi-fi and audio visual retailers we are always delighted to share our knowledge and to engage with customers’ questions on a variety of topics. The most common questions tend to centre on how one brand or product compares to another.

We can certainly talk about product specifications and give our unbiased personal views based on our own listening experiences. But beyond this things get more complicated…

Audio T Bristol Demonstration Room

A typical, and entirely reasonable, customer question might be something like: “How do these speakers compare to those ones?” Most customers are not asking about differences in driver or cabinet construction. They want to know how they sound compared to each other.

Or, to take another question we often hear: “What sounds better, a good CD player or a similarly priced streamer?” Entirely reasonable questions. The trouble is that there are often no objective answers to how things sound.

THE Naim 300 Series in the AUDIO T BRIGHTON Listening room

What sounds great to one person might sound too bright/too bassy/too relaxed and so on to another. And what sounds fantastic paired with one system may sound less good in another.

In short, sound (what we actually hear) is very often highly subjective being dependent on a huge number of factors right down to the way our brains are wired.

Audio T Oxford Showing off their new audio note system

Sure, most hi-fi enthusiasts can tell decent sound reproduction from that served up by poor equipment. But the only way to find a sound that really suits you is to listen to the equipment yourself.

And that is where Audio T’s bespoke demo rooms come into their own. It is part of the service that distinguishes Audio T as an independent hi-fi retailer.

Not only do our demonstration rooms allow customers to road test equipment and make comparisons but a demo also helps build relationships during which customers feel comfortable talking about their hi-fi and music. It’s an interactive process.

Often matching and mixing components in the demo room ends up in happy coincidences when, for example, you are demoing a record deck for a customer who turns out to be just as impressed with the sound of the speakers and/or the amp you paired it with.

Of course, our listening spaces may differ sonically from customers’ home listening rooms and our pairing equipment may differ from their own systems. That’s why we also offer home loans.

Music is one of life’s great pleasures. We put great amount of time and effort into finding music we enjoy and then listening to that music.

Why would we then risk playing that music on equipment bought on spec, or solely on the strength of a shopfloor sales pitch or magazine review, when we don’t know how it sounds?

There are surely few things more disappointing for a hi-fi enthusiast than eagerly plugging in a new component at home only to be seriously underwhelmed.

Our main demonstration room at Audio T Portsmouth

So, if you’re considering some new hi-fi in 2024 or just want some advice on your system, then drop in for a chat at the Portsmouth store. Or, if you prefer, you can call us on 0239 266 3604 or drop us a line at portsmouth@audio-t.co.uk

Thanks for reading.

Alan, Luke and Stephen - Audio T Portsmouth

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Chord strikes the right notes with system upgrade options

Cabling and other hi-fi ‘ancillaries’ like power distribution, isolation equipment and such like are viewed by some as snake oil – a case of marketing hype over real-world substance.

Those fortunate enough to have access to quality hi-fi products know different.

So when the chaps from Chord Company dropped by the Portsmouth store earlier this month with some goodies for us to listen to we piled eagerly into our demo room to try them out for ourselves…

No Noise Here

First up was the English Electric EE1 Network Noise Isolator (English Electric is a Chord Company brand). The EE1 is a palm-sized £250* box that is designed to block low frequency digital noise and reduce high frequency chatter.

We slotted it into our premium demo system comprising Naim NSS 333 streamer, NAC 332 preamp, two NAP 350 mono power amps and an NPX 300 power supply unit running into a pair of Dynaudio Confidence 50 floorstanding speakers. The EE1 sat between our English Electrics 8Switch and the NSS 333.

The EE1 improved clarity and definition. We’re certainly not talking night and day but for £250 it made a strong case for itself in terms of tidying up the sound.

It’s Burndy Time…

The next items for testing were Chord’s new Chord BurndyX power cables. At £2,765 for the pair these are significantly cheaper than the Chord BurndyT cables at £5,530.


We removed the EE1 and we listened first with the Naim-supplied Burndy’s. Could swapping a £2,765 pair of BurndyX power cables really make any meaningful difference to this £60,000 plus system?

Oh yes. It was immediately apparent that there was a lot more detail across all frequencies. Perhaps less expected was the obvious increase in the size of the soundstage, both in terms of width and height.

We were more than a little impressed that a pair of power cables could make such a difference. The Chord guys told us to think of the cables as another component. This takes a bit of effort, mainly because they aren’t a box filled with electronics. But when you think of the know-how that goes into these cables it begins to make sense.

Every BurndyX cable is hand built to order and uses multi-stranded silver-plated OFC conductors with high-density, silver-plated braid and foil combination HF shielding. The BurndyX uses cross link polyethylene (XLPE) insulation while the more expensive BurndyT use Taylon®. Both are terminated with their unique, crimped Choralloy™ plated connector pins.

As an immediate and significant upgrade to a medium-to-high-end Naim system it is hard to overlook the BurndyX.

PowerHAUS

Next up was the Chord Company PowerHAUS P6 Mains Distribution block fitted with the Chord Clearway power cables. We switched to a second system comprising a Naim Supernait 3 and CD5si, still running through the Dynaudio Confidence 50, if only because they weigh 50kg apiece and moving them takes a bit of time.


This entry level unit from Chord is still a pretty substantial block that majors on the quality of its internal wiring and the attention paid to its earthing utilising the company’s ARAY technology.

The sound grew with the £600 PowerHAUS P6 (the optional Clearway power cables are £130 per metre) wired in, delivering improvements in bass response and sound stage. The sense was that there was just more clean power on tap with the P6 which helped the Naim amp and CD player dig deeper.

In our opinion, all three items made a good case for themselves with the BurndyX delivering the most noticeable sonic improvement. To our ears at least, and in our systems, the performance of all three products more than justified their respective price tags.

It just goes to show, not everything is all marketing hype. There is a lot of substance to these products, so why not try them for yourself? Please give us a call and book a demonstration…

Thanks for reading.

Alan, Luke and Stephen - Audio T Portsmouth

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*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE

Acoustic Energy step up with the new Corinium range

Acoustic Energy recently treated the team at Audio T Portsmouth to a preview of the newly-launched Corinium floorstanders.

They made a big impression, and not just because they weigh 40kg a piece! Their sound and build quality mean these £6,000* speakers (£7,000 with the British racing green finish) bring something different to the speaker party.

These are a step upmarket for the Cirencester-based team - the next nearest speaker in the range is the AE520 at £3,650 - and the Coriniums reveal a more sophisticated sonic character. Corinium is the former Roman name for Cirencester, by the way.

Mat Spandl, AE’s Managing Director and Acoustic Engineer, said: “We tried to make the sound faster and more dynamic”.

The Corinium have a much lower level of colouration than many of our speakers. It makes them sound more open and transparent.

Have they succeeded?

Yes, and then some. For sure the Coriniums still have, what is to our ears at least, the signature AE sound which is full-bodied, smooth and non-fatiguing.

But there is subtlety and insight too. The soft dome tweeter and carbon fibre mid sit a fair distance from the twin bass units located at the bottom of the speaker. The whole unit is raked backwards thanks to the floor spikes which are longer at the front than they are at the back.


We wanted to improve the timing of the speakers,” explains Mat, “so there is a larger gap between the bass and the mid-range.”

The bass provides the foundation for the mid and the tweeter. We have also worked on the mid range to get it to decay quickly so we have that fast sound.

Listening to Taylor Swift’s Exile (Folklore, 2020) in the Audio T Portsmouth demo room, both Bon Iver and Swift’s voices are beautifully and richly rendered. Muses’ Super Massive Black Hole showed a different side to the speakers’ character presenting the track’s thunderous driving rhythm, with plenty of low bass welly, which allowed Matt Bellamy’s vocal to soar clear.

Track after track the vocals particularly impressed. Levels of detail and sound staging were impressive too.

Fit and finish were excellent, allowing these speakers to rock a classy aesthetic that is in accordance with their price point. We demoed the British racing green model which are available to order at £7,000. It takes 14 coats of paint and lacquer to achieve the lustrous metallic finish, which certainly contributed to the upmarket look. If green isn’t your thing (and you don’t want to spend an extra £1,000) then standard finishes (at £6,000) are Tectona (a bit like teak), and matt black and white.

The front baffle is 6mm thick aluminium. There are twin ports at the rear – a vertically aligned rectangular bass port and a small circular mid port.

Acoustic Energy have done a great job with the Corinium which take the AE range firmly into solid upper mid-range floor stander territory. They offer something different to other players like Spendor, PMC, B&W, ATC, Dali, Dynaudio and Sonus Faber.

Expect to see Coriniums available for demo at Audio T stores very soon!

Thanks for reading.

Alan, Luke and Stephen - Audio T Portsmouth

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The love of music never dies - A 94-year-old’s upgrade to Naim and ATC

A lifelong love of orchestral music has fuelled nonagenarian Richard Stickland’s passion for hi-fi.

As the proud owner of a stunning new Naim 200 Classic Series system running through ATC SCM40 speakers, all supplied and installed by Audio T Portsmouth, Richard was happy to share his hi-fi and musical journey with us.

Most hi-fi enthusiasts can point to defining moments in their lives when they were ‘bitten’ by the hi-fi ‘bug’ - the moment when they glimpsed the possibilities of high fidelity music reproduction. For Richard, 94, his enthusiasm for hi-fi is inextricably linked to his passion for classical, especially live orchestral music.

London Philharmonic Orchestra Circa 1940s

Where it all began…

He recounts seeing the London Philharmonic Orchestra in Folkestone as a schoolboy just after World War II. The orchestra had decamped from London during the war and was touring the country almost continuously doing its bit to maintain morale.

“My parents had a gramophone, a wind-up one, and at school I was a member of a society and we used to play gramophone records,” says Richard, who lives in Fareham, Hampshire.

“So I was used to hearing music. But it was the power and scale of hearing a full live orchestra that opened my ears,” says Richard.

As a boy he learned piano and used to play the organ for school services. He retains a particular love of organ music – he is a fan of Saint-Saëns’ Symphony No 3, a piece of music that will show up the sub-bass limitations of most hi-fi systems.

New College, University of Oxford

Richard maintained his interest in classical music throughout his time at New College, University of Oxford, where he studied physics. He played piano for the Gilbert & Sullivan Society. He also saw the great Sir Thomas Beecham’s first concert with the Royal Philharmonic Orchestra, which he co-founded.

Richard’s first encounter with hi-fi was in the late 1950s when, in his late 20s, he heard Quad’s first Electrostatic Loudspeaker (ESL), which belonged to his mother’s cousin.

“I remember thinking it sounded much better than what I had been used to. But it was a bit weak in the bass,” notes Richard.

Quad’s first Electrostatic Loudspeaker (ESL)

After university Richard moved into engineering and worked for many years on oxygen production systems for Britain’s nuclear submarines. He moved to the Portsmouth area at the start of the 1960s.

His passion for classical music and hi-fi continued to grow.

“I had a six element VHF aerial which ran up beside the chimney. I could rotate it so I could tune into the French classical music station, France Musique, which I enjoyed. I could then play this through my stereo,” says Richard.

I’ve had many hi-fi separates over the years. I tended to buy separates from different manufacturers. I would read reviews in hi-fi magazines about a particular product and then buy it.

The CD Revolution

“My wife was always very good about it all. She had the view that if it was making me happy, then she was happy.” Richard admitted however that the advent of CDs in the 1980s did make it easier to ‘smuggle’ new albums into the house compared to larger format vinyl.

THE CD Revolution - Richard has had a Naim CDX for a number of years

He decided to upgrade to his previous system after seeing and hearing the Bournemouth Symphony Orchestra with his son.

“I came home and put on a CD of the same music we had heard at the concert. It didn’t do full justice to that live orchestral sound,” chuckles Richard.

The next step…

“I mentioned to my son that I was thinking of upgrading and he rather pooh-poohed the idea. After all I had a perfectly decent system.”

“But I arranged a demo of the Naim 200 Classic Series at Audio T Portsmouth. My son drove me and sat in on the demo and, do you know, he was very impressed,” says Richard with a smile.

“He is now considering taking over my old Cambridge Audio system so, yes, perhaps he will yet become a hi-fi enthusiast.”

NAIM NEW CLASSIC 200 Series

Richard’s new Naim system, which was installed in August of this year, comprises of NSC 222, NAP 250 and NPX 300 plus a pair of ATC SCM40 speakers. He retained his existing Naim CDX.

“I am delighted with the new setup,” says Richard. “The new system delivers a much larger scale sound. Although, having said that, I am now considering whether to replace my current subwoofer with two new ones.”

“Audio T have been absolutely wonderful throughout. Luke, the new manager there, has been unbelievably superb and I appreciate all his help and knowledge.”

Richard, a long term customer of Audio T Portsmouth, and of Jeffries Hi-Fi before then, is proof positive of the power of hi-fi to deliver lifelong entertainment and enjoyment.

Happy listening Richard!

Thanks for reading.

Alan, Luke and Stephen - Audio T Portsmouth

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ATC Loudspeakers can be found at the following Audio T stores

Dynaudio Confidence 50 - Now at Audio T Portsmouth

As the newest member of the Audio T family, It’s not every day that I get to listen to speakers costing just over £24K, so it was with a sense of excitement that we took delivery of a demo pair of Dynaudio Confidence 50 at Audio T Portsmouth.

Arriving in wooden crates weighing around 80kg apiece it was clear that these were something pretty special. No cardboard here, thank you very much.

Unscrewing the crates and lifting tops off revealed glossy, 5ft long monoliths of impeccably lacquered Raven Wood (also available in Midnight High Gloss, Blonde Wood, Ruby Wood High Gloss and Smoke High Gloss) housing the trademark composite baffle fitted to Dynaudio Confidence range comprising the 20, 30, 50 and 60 models.

Sans crates the Confidence 50 weigh in at a relatively modest 50kg, nonetheless moving them out and standing them up is still a two-person job.

As with most floor standing speakers, the Confidence 50 are supplied with rubber feet for hard surfaces and substantial spikes for carpeted floors. Using the spikes in our recently carpeted demo room, we achieved a rock-solid stance for the big Dynaudio pair.

It started with a tweeter…

Bill Livingston, the UK Dynaudio Sales Manager, talked us through the design process for the Confidence and their 28mm Esotar3 tweeter. It was developed from scratch and its multi-component construction shows Dynaudio’s obsession with research and development.

The design of the Confidence range began with the design of the tweeter. We knew if we got that right then the rest of the speaker design would follow,” said Bill.

Where it all began… Esotar3 soft-dome tweeter

The tweeter is set into a proprietary Dynaudio Directivity Control (DDC) lens which was developed, along with the tweeter and the rest of the drive units, using the company’s bespoke acoustic test facility, named Jupiter, which is based at their HQ in Skanderborg, Denmark.

Dynaudio Jupiter testing facility

The dynaudio confidence ddc lens

The DCC is designed to reduce sonic reflections from the ceiling, floor and furniture. Its shape means that it can do this while preserving the width of the soundstage (more of which later).

The tweeter and its DCC lens sit in the middle of twin mid-range units and woofers, all featuring single-piece magnesium silicate polymer (MSP) cones driven by robust yet light weight motor assemblies. These sit in the acoustically-sculpted composite baffle which is set into the beautifully finished cabinets which taper towards the rear, rather like the leading edge of an aircraft wing.

Let the listening begin…

None of the technical preamble quite prepares you for the sound that these speakers can produce. We had them hooked up to our demo Naim NSC 222 streaming pre-amp, a Naim NAP 250 power amp and a Naim NPX 300 power supply.

The first thing that hits you is the scale of the presentation. Of course, you’d expect any large three-way floor stander worth its salt to give you convincing musical scale. But the Dynaudio Confidence 50 give you full throttle Albert Hall meets Red Rocks Amphitheatre scale when the music demands it. Width is matched by depth and height.

Treble, midrange and bass (there is no shortage of low bass in these speakers, thanks in part to the downward-firing bass ports) are, individually, beautifully presented. But it is their combined effect that contributes to the Confidence 50 party piece – as realistic a musical presentation as I have personally ever heard.

While good speakers can deliver detail and micro dynamics in spades, the Dynaudio 50 take this to a new level. Whether reproducing a live symphony recording or a close-mic’d studio track, the Dynaudio Confidence 50 deliver levels of fidelity and insight that make the music sound immediate, present and organic. They convey a real sense of the musical intentions, techniques and emotions of the artists along with the nuances and imperfections of their recording environments.

Our Naim system worked brilliantly with the Confidence 50 but, as the Dynaudio cost more than all three Naim boxes combined, it makes me wonder how these speakers will sound with the new Naim 300 series pre and power amplifier being launched soon. It also leaves me wondering exactly how the bigger, pricier Dynaudio Confidence 60 manage to top their performance.

The good news is that we’ll have the Dynaudio Confidence 50 on demonstration for a while yet in the Audio T Portsmouth demo room and we’d be delighted to welcome you to drop in and have a listen for yourself.

Thanks for reading.

Alan, Luke and Stephen - Audio T Portsmouth

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How Do I connect Naim New Classic Range 200 Series to Legacy Products?

Naim have built a solid reputation for their unique approach to how they connect their hardware together, allowing old and new ranges to work seamlessly. You may even have heard the term “Hi-Fi Lego” used in the past to describe how easily their systems can be built and improved with simple add-ons. The New Classic Range is no different, in spite of the fact they have mostly moved away from their famed composite DIN connections to XLR.

Whilst die hard Naim users have celebrated the exclusivity of the “all Naim eco-system” for decades, it has meant that other Hi-Fi enthusiasts and Audiophiles who like to cherry-pick their components have been somewhat left out of the equation. But this doesn’t mean that Naim aficionados have to worry…

What is XLR?

To the everyday Hi-Fi admirer, XLR isn’t a connection that you often come across, so it is understandable if you’ve not used one before.

XLR is a three-pin connection electrical connector, More often found in professional audio, video and stage lighting equipment. In audio, it is a balanced connection which three pins utilise a positive, negative and ground/shield.

As with most types of audio connection, there are two types of XLR, Male and Female. Male gives the sound and the Female receives it.

FEmale XLR and male XLR (Female with three sockets and male with three pins)

How to connect the new NSC 222 Streaming Preamplifier Series to the Legacy Naim Products

Let’s say you are looking to upgrade your existing Naim 200 series Streamer and/or Preamplifier but don’t wish to upgrade your current Power Amplifier. Then you will need a specific cable or cable assembly depending on your current power amplifier to integrate the NSC 222 into your system.


NAP 200

If you’re looking to connect the new NSC 222 to a power amplifier such as the NAP 200, you will need a cable that goes from the two Male XLR outputs of the Streaming Preamplifier to the 4-pin DIN input of the Power Amplifier (as below) -

Naim NSC 222 StreamING PREAMPLIFIER to NAP 200 POWER amplifier

The Lead Assembly you will need is the Naim Signal Interconnect NSC 222 - NAP 200 (2XLR - 4 Pin DIN).


NAP 250

Connecting the NSC 222 to the NAP 250 power amplifier is slightly different and will require a cable that goes from the two Male XLR outputs of the NSC 222 to a single female XLR input on the NAP 250 (as below) -

Naim NSC 222 StreameING PREAMPLIFIER to NAP 250 POWER amplifier

This this connection you’ll need the Naim Signal Interconnect Naim NSC 222 - NAP 250 (2XLR - 1XLR).


NAP 300

Connecting the NSC 222 to the NAP 300 Power Amplifier, will require two cables, that go from the two male XLR outputs of the NSC 222 to the two Female XLR inputs (Left and Right Channels) on the NAP 300 (as below) -

Naim NSC 222 Streamer to NAP 300 amplifier

For this connection you’ll need the Naim Signal Interconnect Naim NSC 222 - Naim NAP 300 (XLR - XLR) - These are sold individually, so you’ll need the specially tuned Left & Right channel cables.

If you want to use something other than Naim, you could check out the Chord Company ChordMusic, Clearway or Shawline XLR interconnects.


The NSC 222 would make the perfect replacement for the NAC-N272. With its increased bitrate for streaming and digital inputs from 24bit/192kHz to 32bit/284kHz as well as an MM phono stage and impressive headphone amplifier inherited from the Uniti Atom headphone edition. The NSC 222 is also equipped with an 8 pin DIN (5 pin compatible) for use with external phono stages such as the NVC TT for any of the Naim Solstice owners.

XPS/DR

The NSC 222 is also compatible with the older Naim XPS/DR Power Supply upgrade using a 19 way single Burndy Cable from the Naim XPS/DR power output to a 12 and 23 way Burndy cable to the power input of the NSC 222 (See below).

Naim NSC 222 Streamer with external xps power supply

For this connection you’ll need the Naim Burndy XPS - New Classic.


And there we have it! If you have older Naim Classic 200 Series & want to experience the improved sound quality the new 200 Classic Series brings, or have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

Thanks for reading.

Luke, Nick and Stephen - Audio T Portsmouth

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…


Naim can also be found at the following Audio T stores -

  • BRIGHTON

  • BRISTOL

  • CARDIFF

  • CHELTENHAM

  • ENFIELD

  • MANCHESTER

  • OXFORD

  • PORTSMOUTH

  • READING

  • SOUTHAMPTON

  • SWANSEA

  • SWINDON


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What's in the box? - Infinite Baffle or Ported Speakers, what's the difference?

Infinite Baffle or Ported are the two main types of box loudspeakers. Let’s look closer….

ATC SCM7. KEF LS50 META

First things first, What is infinite baffle?

A true form of infinite baffle doesn't technically exist, as it would need a flat baffle for the drive units that extends out infinitely. However an equivalent is to mount the drive units in a sealed cabinet to provide minimal “air spring” restoring force to the cone.

Infinite baffle or “IB” is used as a generic term for sealed enclosures of any size, The name coming from its ability to prevent interaction between the forward and rear radiation of a driver at low frequencies.

What are the pros to “Infinite Baffle” speakers?

  • Distance from walls - If you have a small room or awkward space it can be difficult to position “Reflex” or “ported” speakers. Due to the sealed box design of an “IB” speaker, it’s a little more forgiving for small spaces and they usually perform best when positioned closer to a rear wall, as you can gain up to 3dB of low end frequencies.

  • Low end clarity - The characteristics of an “IB” speaker allows for the ability to exercise more control over the low end. This in turn can allow the speakers to deliver a clear range of detail across the frequency range, aiding in separation and over all clarity.

  • Close monitoring - IB speakers do make a pretty good studio monitor. due to their ability to be placed “almost”anywhere, as well as their clean low end characteristics.


They sound great I hear you say, so what are the cons?

Ok now it gets difficult as there is no such thing as a “perfect” speaker, they all have their good points and less good points, and it’s no different with IB speakers….

  • Inefficient - Infinite baffle speakers are generally less efficient than ported designs, so require more amplifier power for the same output level.

  • Less deep bass - This can also be a positive too, aiding in room positioning. (two things being true for one statement, Oh my). “IB” speakers often have an analytical low end but not always the weight in the bass that many ported speakers have. So depending on the Genre they can be both good and bad at the same task.

That about does it for the “Infinite Baffle” section, Now let’s discuss “ported” designs

  • Ported speakers have a vented cabinet,

  • These “ports” are used to tune the cabinet resonance to a desired frequency. The air in the port, which may be a simple hole or a tube, acts as a mass against the compliance of the air inside the cabinet. The two work together in a resonant fashion, reversing the phase of the sound coming from the port at low frequencies, adding to the output of the bass cone instead of opposing it. Resulting in a more efficient speaker that is also more extended in the lowest frequencies.

    A few of the pros for “ported” speakers

  • Extended bass - Ported speakers can provide deeper and more dramatic bass

  • Smaller - For a given bass output and efficiency a ported speaker can be smaller, making them easier to accommodate if size matters.

  • Cheaper - Just like tequila you may want to take this one with a pinch of salt. Although not true for all, the majority of good quality “IB” speakers come at a higher price due to their design, build material and overall engineering to perfect the sound.

So what are the cons of ported speakers?

  • Optimal positioning - In order to really get the best out of your “ported” speakers you’ll have to make allowance regarding the distance from walls. This will be greater than with an infinite baffle design. This can sometimes be difficult to achieve in the modern home. This is more of an issue with rear ported speakers, as the reflection from the wall will effect the sound. The closer to a wall the more bass you will get, however, some frequencies will sum together, some frequencies will partially cancel and some frequencies will completely cancel each other out.

  • Lack of control over the low end. Ported speakers rely on their vent or port to increase volume and low end response, however, this can make the speaker harder for the amplifier to control and in some cases can result in a “one note” bass, affecting clarity in mid and high frequencies.

What can we conclude from all this?

We are all looking for that perfect sound to suit our taste and unfortunately the reality is there is no right answer. But do not despair! We always recommend you sit down and have a listen to speakers and let your emotions be the judge. Use the reviews drafted by your favourite Youtube reviewer or the Hi-Fi forums to create a shortlist and come and listen in one of our demonstration rooms. Explore the vast sea of sound and set sail on your own voyage of discovery.

Thank you for reading - Luke & Nick- Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

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You can see many of the different types of speakers we sell on our website Here.

The Demo Process - Listen with your Heart, not just your Ears.

Let me set the scene… You’re looking for a stereo setup, it’s the first time you’re thinking about investing in a home audio system, you’ve recently gotten into records again for the first time since the 80s and you’re worried that you are out of touch from the current Hi-Fi technology.

This is where we step in to help

Be it your first soiree into the wonderful world of Hi-Fi, or your latest investment towards a better sounding stereo system - we are here to offer some guidance and ideas for you. In fact, I would much rather take the time to sit you in our demo room having a listen to some recommended products than you take a chance on a product you haven’t heard before. Plus it means we can spend the time discussing your needs and finding the right system for you. Heck we both might even learn a thing or two.

We all know how daunting it can be talking to someone about technology, especially if it’s something you’re not too familiar with. I’m sure we’re all familiar with the famous “Not the 9 O’Clock” sketch…

Rest assured, your experience at Audio T would be nothing like this! We’re here to help. So, for the purpose of this article, I wanted to walk you through some ideas of what to listen to and what to listen out for in a demo to help you find that missing link in your music consumption.

A demo room should be a home away from home…

It’s a safe bet to make that you are buying into Hi-Fi because you love music. After all, these are products you use at home, to listen to the artists you love in comfort and relaxation, or maybe to have a lil’ dance around the living room?

So why would you treat a demo any differently? Well, we’re not expecting to see you do the Funky Gibbon in store, but It’s important to have a think about what music you would listen to.

What would you crank up on your car stereo? What is the first thing you’d listen to when you get home from a long day at work? These are as good a starting place as any to determine what music to listen to demonstrate your potentially new purchase. If the product you are listening to doesn’t perform well with the music you love then what’s the point of convincing yourself otherwise?

In fact the first question I will ask in demo is what would you like to listen to, many say that they are not sure as they have an eclectic taste in music. My next question would be, “Ok, what would you like to listen to first?”. The demonstration process is a marathon, not a sprint. There is little to no point in listening to music you don’t like. So don’t be afraid to ask for the unconventional. Some Dolly Parton, ABBA or ZZ Top, a little Lucy Rose or The Streets won’t hurt anyone, maybe a little bit of Ariana Grande or Nickleback as dessert? And don’t be afraid to listen to the same track more than once.

Your music taste is personal and so should be your demo.

(WE HAVE MORE CDS hidden away)

Variety is the spice of life…

Not to contradict the previous section, but consider some variety in music you’re going to listen to. If you want to fully test what a product is capable of it’s always best to test with some variety. For example starting with some lush acoustic with some melodic vocals (such as Gabrielle Aplin, José González, Jack Johnson or Taylor Swift) will give a clear indication of the overall tonality of a setup, how the sound captures you and will show off detail in the simple vocal. But moving onto music with more layers, with a thick bass and loud drums (Such as Franc Moody, AC-DC, Sigrid, Haim, Oasis - think big sounding songs) will offer a closer insight to how “confused” a system can get, or how well it handles the detail between large instrumental layers. Movie scores from the likes of Hans Zimmer (Dark Knight Trilogy, Gladiator, Inception, the list goes on and on) are a great test of how a Hi-Fi system can deal with intricate compositions.

Going about a demo like this really helps you pick out the details offered by each product, be it comparing different speakers, turntables or amplifiers, or even just a listen to see how the system of your dreams handles a massive sounding chorus, as after all you want to enjoy the music.

You don’t have to rush yourself…

If you step into an Audio T store or into the demo room, there’s no obligation to make a choice. Sometimes when choosing between two products the right choice for you will become clearer as you walk away. Maybe one of the songs you listened to in the demo stuck with you more when played through a certain set of speakers, or maybe you realise how in love with the turntable with the red finish over the white finish you are.

Plus it is worth noting here that, like any part of your body, your ears do get tired. This is something to consider when choosing a setup, as often if the system has too much emphasis on the high frequencies it won’t be suitable for longer listening as your ears will get fatigued. Much like how your eyes start hurting if you spend too much time looking at a computer screen. 

The choice is yours, and we are here to help guide you to the best of our ability- which nicely fits into the next point…

Leave no (Rolling) stone unturned!

We are here to help YOU, so when it comes to a demo leave no stone unturned, if you are unsure or have any questions feel free to ask. We pride ourselves on offering a great experience in our demonstrations as, like you, we are here because we have a passion in music. Some of us are long time music fans, musicians or even just massive technology nerds, so we often are excited to answer technical questions that you may be curious about as well as any recommendations we may have. It is likely we will ask questions about what you listen to and what space you are going to set up a stereo (or home cinema) in, this helps us explore what your needs are, and what problems you may need to overcome in order to get a sound system that is right for you and your home. Equally, if you want to try a component that we haven’t recommended or you can’t see in the store, don’t hesitate to ask.

Although we can’t keep every speaker we sell in shop, we do keep a fair few that we find to be the crème de la crème. If you want to listen to anything in particular, let us know and we will see about getting it in.

We also offer home demonstrations (where possible), where once you have narrowed things down in store we would visit you with a few products to test in your own listening environment.

To Conclude…

To sum this all up, the demo time is for you to use as you want, an opportunity to let your ears lead the way as you delve into the wonderful world of Hifi.

Thank you for reading - Jake, Nick, Luke Audio T Portsmouth

 

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

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Don't let looks fool you – Taking a deeper look at Jern Speakers

So, Jern speakers. At first glance, I thought I was looking at a pair of outdated computer speakers. You know the sort. The ones that came out in the early 00’s in your average chain of appliance stores and were completely style over substance. The ones that some of us would purchase only for a couple of years later to think ‘’What on earth was I thinking?’’… Then I remembered, “This is Audio T. We don’t stock that sort of thing” and decided to look a little deeper. 

I recently had a customer who was looking to acquire a new set of speakers with a budget around £2000. The brief seemed simple enough. Since he had to get rid of his old floor standing Mission speakers, he wanted something discrete, in the likes of a bookshelf speaker. But suddenly the requirements took a more specific shift. The customer was moving his equipment to a much smaller listening space and needed something that he could place right next to walls. This takes what started out as a very wide selection, down to a handful…

We arranged an appointment for a demonstration, and in the meantime, I would try to find a selection of speakers that would meet his requirements. So, I started my search and came up with the usual offering from the likes of Dali, Bowers & Wilkins, PMC etc. I also decided to give the Jern Model 12WS a go. A speaker, at the time, I had not really given much thought to. In fact, it is worth pointing out that I’d never actually listened to the Jern speakers. So, I wasn’t sure of what the outcome would be. Not to mention, I was slightly hesitant since their size and shape was unconvincing to me.

As I said in my opening statement, I wasn’t overly impressed with their aesthetics. Well, my back wasn’t all to impressed when I tried to lift one to place it in our demo room. Despite their small size, they weigh well over 12kg as they are made out of cast iron. Well, I wish I knew that beforehand!

The setup was extremely straightforward. As best to replicate the customer’s setup, we used a Naim Uniti Star as our main amplifier/streamer combo to power the speakers.

I welcomed the customer in to the shop and ushered him to the all-important listening seat so that we could start our demonstration. Before I could talk through the selection of products on offer, the customer, with a disgruntled look on his face, pointed to the Jern Model 12WS and asked, ‘’What are those?’’. 

I explained that these unusually shaped offerings were a relatively new arrival from Denmark, and unlike the majority of speakers available in the Hi-Fi industry, were made from cast iron. I was very forthcoming and clarified I hadn’t listened them to myself and was curious to have a listen and see what they could do and how they would perform.

I handed over the shop’s iPad, preloaded with Tidal via the Naim app, and advised the customer to go crazy and play whatever he may wanted. First up were the Jern 12WS…

The first track he played was Pink Floyd’s “Comfortably Numb”. A rather fitting song title as that’s exactly how I felt while listening to the opening vocal lines from Roger Waters. But the moment I heard ‘’Hello, is there anybody in there’’, I felt as if I was listening to this song for the very first time. Parts of instrumentation that I’d never heard before became apparent. The detail was shocking...the clarity and the soundstage was so immersive that I had to double check if I connected the right speakers or if a subwoofer was accidentally connected to our system. No, nothing was there other than the Uniti Star and the Jern. The room was filled with colour created by the string ensemble and several other instruments I never noticed before. I remember the customer lowered the volume quite a bit to say something and it was then when I realised the most incredible asset of the Jern. Their ability to ‘’sing’’ and perform at low volumes was out of this world. You could hear every single detail coming out of the speakers at such low volume, so close to the wall. I was indeed comfortably numb.

We streamed several other tracks in the likes of Deep Purple, Led Zeppelin and Dire Straits. A music genre I’m well accustomed to, yet on every single track I would discover bits unheard before on any other bookshelf speakers I’ve used in the past. It was extraordinary. A sound so full and balanced that could make me stay in our demo room for hours without wearing out my ears.

Johnny Cash - Hurt

On every track’s ending we would exchange a look and I was able to see how impressed he was. I couldn’t blame him as it was mutual. Words can’t describe the Jern speakers’ ability to perform. Goosebumps after goosebumps and track after track, we’ve filled the room with at least 10-12 rock and acoustic tracks. If you could close your eyes on Johnny Cash’s cover ‘’Hurt’’, you’d be under the impression he was there in the room with his acoustic guitar.

Jern Mounting Ring Rubber Base

The customer was so impressed with the Danish loudspeakers that we almost forgot to try out the rest of the speakers. Once we had gone through and tried the same selection on the other speakers, the verdict was made. Nothing could match the tonality of the Jern for the customer or myself, the musicians and bands we were listening to and their unconventional positioning close to the wall.

And with that, a brand-new pair of white Jern Model 12WS found a new home, accompanied by a set of stands and the Jern mounting rings which make all the difference as you can angle the speakers in a variety of ways due to their rounded bottoms. This opens up the possibilities of moving the sweet spot depending on the room and the listener. 

So yes, I appreciate that looks can be deceiving, especially in our Hi-Fi community. However, if you are reading this blog and you’re after some high end, bookshelf speakers, give them a go. Ever since I heard them perform, they’ve had a sudden ‘’glow up’’ in my eyes and aesthetics. I love the way they look now, for they look different, sound different and hit different!

Should you be interested in the Jern origins as well as more technical information, please take a look at this more in depth blog here.

Thanks for reading

Agamemnon - Audio T Online Store 

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JERN Loudspeakers can be found at the following Audio T stores