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  • Simple Audio Player
    Simple Audio Player Independent product review from Germany's leading audio magazine, Audio May 2012 A Simple Plan Simple Audio has an ambitious goal: to build an uncomplicated, intuitive networked player, which sounds fantastic and is affordable for all music lovers. Network music players can be attractive to music lovers for a variety of reasons. On the one hand, the removal of the process of ripping CD's and the associated interference (for example problems with the CD-drive) create ideal conditions for high quality digital music playback. On the other hand, network Hi-Fi becomes even more attractive because it is designed for comfort. Once music is stored on the server, all players in the home whether they are small or large, independent, expensive or cheap, large or small, can be connected. A complete digital music collection, from the paid download to the ripped SACD, is available all over the house without any loss of quality. Manufacturers like Sonos, Raumfeld and Logitec have continuously developed comfort and diversity within their players, having conceptualised players and systems suitable for every listening situation, be it in bath or home cinema. They have intuitively programmed understandable and easy to use interfaces and integrated a steadily growing number of online music services, all with the aim of accessing local music libraries perfectly. In contrast, high-end companies like Linn or T+A have focused more strongly on optimising the tonal elements of the network technology. Until now, there has been a gap between these two. Of course, there have been multi-room systems consisting of a dozen Linn's, and conversely one might find Sonos and Squeezebox players alongside exclusive technology. However, only Simple Audio has developed the technology to explicitly fill the gap with two Roomplayer models that can work with a minimum of network infrastructure and easily handled even by IT philistines - just like Sonos. At the same time, they do not compromise on tonal quality and are not at the superior price of other high-end products. There's no lack of technical and commercial competence at Simple Audio with Peter Murphy as Managing Director, Martin Dalgleish as Director of Commercial Affairs and Alastair Brown Director of Product Design - three prominent former Linn members in its executive seats. It's logical then, that the company has its headquarters in Glasgow. What is not as immediately apparent is that the Roomplayers are fully assembled in Scotland. Same, But Different When describing the concept, one cannot get round the immediate comparison between Simple Audio and the two big, but officially unnamed role models, Sonos and Linn. In parallel to Sonos, if you own several Simple Audio Roomplayers, only one of them needs to have direct contact with the LAN. All the other players effectively carry their own network. However, unlike Sonos, these players do not use their own radio network, but rather power modems that have been integrated into the players. These modems send data packages via electric connection from player to player. Even the first connection to the freely chosen 'master player' can be made via electric connection (PowerLine Communications Technology) just by interconnecting a commercially obtainable PowerLine adapter (e.g. Devolo). Therefore, the electric connection also becomes a network connection - Simple Audio hopes that this will ensure better protection against interference and data scope as with WLAN. Simple Audio did not leave these bigger transfer rates unused though and has made the Roomplayers HD file compatible from the outset: 24bit/96Khz is already possible, the less common 192KhZ-data will also be playable after a future software update. In this regard, the Scots prove they are already ahead of their US colleagues. UPNP? No or Maybe? When accessing the music library on a user's hard drive, Simple Audio uses similar techniques to Sonos: with its own intelligence and without reliance on a media server programme. The 'master player' knows its path to the music folders on the hard drive through a simple and well-organised controller application (Mac or PC), and then scans and sorts the content by itself. It does not matter whether the music is stored on the PC itself or whether it is externally stored on a network drive (NAS). Currently, the set up program still needs to run during playback, otherwise the player will not find the music on the NAS. Instead of correcting this weak point, the next (but not obtainable at the point of writing) software update promises to give additional support to external UPNP-servers. In other words, if Twonky Media for example is used on NAS, Simple Audio can use its functionality just like conventional UPNP-network players. Nevertheless, Simple Audio should make the results of their own indexing available without an accompanying PC. One Player - Many Faces This is especially important with the Scots because one of their enticing and original features is their ability to offer different users bespoke music libraries. Whilst universal access to one big music library is one of the attractions of a network player, there are limits to this attraction. The youngest child's complete collection of 'Bibi and Tina' (a pony audio tale for young girls) does not have to interfere with the album collection or listening pleasure of the parents in the evening. Conversely, meticulously arranged playlists are also often only of interest to specific users, so it follows that these users would be quite happy if they did not have to find the DJ attempts of other users under 'playlists'. With the Simple setup, you can 'tick' the music that should appear for each individual user (there are no limitations in numbers). The change from one user to the next happens in seconds. Speaking of playlists, these can be created, saved and changed in the running computer software or via the iPhone app while the software is running; just as users are used to from Sonos, Logitech and Linn. The Roomplayer is available in two varieties: as a player to connect to existing systems and as a player with integrated amplifier. Both models are based on identical network parts. Roomplayer 1 has an additional mains adaptor board and circuit board with digital output stages. Those who want to build a compact, reasonably priced system can get additional amplifier functions for a mere additional €100. An amplifier alone, with comparable quality, would normally cost significantly more. Even with difficult systems, the Simple Audio amp sounded significantly grand and with attention to detail. The testers used a Linn-sneaky to compare, and that worked a bit more structurally in the high and middle tones. The Sonos equivalent ZP-120 next to Simple Audio was rougher and less colourful, so does not constitute real competition to the Simple Roomplayer 1. And, as the testers connected the amp-free Roomplayer 2 with the reference system via Cinch, it even put the Linn-Sneaky surprisingly in its place. This confirmed the impression that Simple Audio had already left with the author of this text in its weeklong acclimation-period with the author's home system. Even during this time, the very lively character, pleasantly unobtrusive in its high pitch tones, stood out as being broadband, informative and with great precision in its timing. The Sneaky may have seemed a bit more relaxed, and more expressive in the vocals, but this is only a miniscule advance. So, Simple Audio has developed excellent streaming platforms with their Roomplayers. Now it is really important for the Scottish developers to listen closely to the wishes of their customers. The abilities and functions of these Roomplayers can then develop as dynamically as Linn and Sonos have done reliably for years now. AUDIO, at the time of testing, especially missed gapless playback and the consequent support of NAS-networks. Both of which are being worked on in Glasgow - until then the excellent audio sound will sweeten the waiting time. The mixture sounds temptingly easy - but is incredibly hard to implement. One mixes the audio competence of Linn with the populism of Sonos and makes delicious little players out of this - rich on sound nutrition and not too heavy on the purse. If the Scots of Simple Audio consequently maintain and nurture their Roomplayers, many a hi-fi fan will find their new favourite product this year.
  • Simple Audio new Roomplayer iPad® App is out now
    Simple Audio new Roomplayer iPad® App is out now The new Simple Audio Roomplayer iPad® App is out now November 2013 Simple Audio has today announced the release of a new free of charge iPad app and more updates to the Roomplayer app. Simple Audio released its first HD streaming products last year and quickly built a reputation for great sound performance and a unique multi-user, multi-library approach that together make Simple Audio Roomplayers a great fit for music lovers. Today's new update builds on this with the release of a new iPad app, which promises to give everyone easier access to their music. Add to this a new look desktop application for Mac and Windows that makes this a great music streaming solution. All your music at your fingertips with the iPad app The new Simple Audio iPad app is the perfect way to access personal digital music collections, listen to online music services and to find favourite internet radio stations. Anyone can download the app, create a user profile and view all the music or just their playlists and favourites. The new iPad app, which makes full use of the device's capability, includes many other new features too, for example seek, intuitive search and dynamic playlists. Everyone can create a unique view of their music in the desktop app The Simple Audio app for Windows and Mac puts the focus clearly on users and music content. The new white interface makes artwork as well as album and artist information really stand out, whilst updates to user profiles make it easier for multiple users to set up their own profile, view music libraries and personalise their own view of their music. The intuitive search brings back results from local music libraries or subscribed streaming services. Plus the new seek capability is welcome news for classical music lovers. Discover more new music on Deezer (available in UK & Europe) The latest update on desktop and iPad now gives Simple Audio users in-depth access to Deezer music and services. Search 30 million tracks, including the largest classical and jazz music collection, listen to radio, view discographies and enjoy music recommendations too. Clément Cézard, Deezer's Chief Business Development Officer said; "Simple Audio and Deezer make great partners. With this integration people get both the high quality sound experience that Simple Audio is famous for, and access to all the features that makes Deezer popular the world over. Searches on Simple Audio's interface serve up album art and artist discographies rather than just the track, and people can share their playlists and Deezer's recommendations with anyone using the multi-room system." How to download the new apps The new Roomplayer iPad app can be downloaded onto your device from the App Store. It's compatible with iPad 2 and above and the iPad mini. The new Roomplayer desktop app can be downloaded onto any number of supported devices and each will interact with Roomplayers automatically. Download the new desktop app from www.simpleaudio.com/support/software All Simple Audio updates are compatible with all Simple Audio Roomplayers.
  • Audiovector X3
    Audiovector X3 Et kup til prisen? Audiovector hævder, at deres nye X3 Super-højttalere er sammenlignelige med langt dyrere højttalere. Nu har vi mulighed for at tjekke netop den påstand! Plus- Friske overtoner- Stram og veldefineret bas   Minus- Lidt tynd mellemtone- Kræver god forstærker   Byggekvaliteten er der i hvert fald ikke noget at udsætte på: X3 Super fås dækket i hvid eller sort pianolak med et flot kabinet, som har let afrundede kanter uden synlige samlinger. Basrefleksporten munder ud på bagsiden sammen med terminaler til et enkelt sæt kabler. Ingen mulighed for bi-amping eller bi-wiring her altså. En ting, som havde gjort højttalerne endnu pænere (men sikkert også dyrere), ville være, hvis stofgrillerne var fastgjort med skjulte magneter i stedet for synlige skruer. Højttaler-elementerne er nemlig alt for fine til at gemmes bag en trist og grå grill! Diskantelementet i X3 er hentet fra Audiovectors dyrere Si3-model, mens bas/mellemtone-elementerne er af en type med hvide kegler af aluminium og støbte metalkurve. Smider du 4.000 ekstra på bordet, kan du opgradere til X3 Signature, som har en dyrere diskant-enhed. I denne test har vi imidlertid holdt os til Super-modellen, som koster 10.000 kroner pr. par. Lydkvalitet Med en så tilpas beskeden prisseddel ville man måske forvente, at X3 Super er af den overfladiske og tilgivende slags, men så må man tro om igen. Det her er meget nøjagtige og afslørende højttalere, som kræver arbejde med placering og elektronik for at yde deres bedste. Efter at have leget lidt med X3 Super er det tydeligt, at de trives bedst med lidt “trækhjælp” fra bagvæggen. Ude på gulvet mangler bassen nemlig lidt slagkraft. I vores lytterum fik vi den rette balance og fylde med højttalerne placeret en halv meter ude fra bagvæggen. Så swinger det godt fra højttalerne, med imponerende dyb og saftig bas, prisklassen og størrelsen taget i betragtning. X3 har en spændstig, energisk og engagerende musikgengivelse og lyder vældig underholdende fra første øjeblik. Lydbilledet er præcist og åbent, og de udmærker sig specielt med deres klare og tydelige overtoner, noget vi let kan høre, når Morphine blæser løs på deres saxfoner. Men – som Geir påpeger – bliver det ikke lidt vel lyst til tider? Jo, Audiovector X3 Super har i lighed med Triangle Color tendens til en lidt tynd mellemtone. Ikke i så høj grad som franskmændene, men der er alligevel tale om en klangkarakter, som fremhæver de lyse toner. Det lyder nydeligt på kvindestemmer, men kan mangle lidt testosteron, når mandlige vokaler skal gengives med brystklangen i behold. Derfor er det her ikke højttalere, som du kobler til en billig, spinkel forstærker – derimod blomstrer de, når de får lidt “blod-doping” i form af en forstærker med muskler! Hegel H200 sparker ordentlig liv i Audiovector og giver os en ikke så lille aha-oplevelse – det er nemlig uvant at høre så velopløst og “rigtig” lyd fra en så billig højttaler. Konklusion Audiovector X3 Super er en billig, men potent højttaler, der har overraskende få svagheder. Men den kræver seriøs elektronik for at komme ordentligt til sin ret. Den lave pris bør derfor ses som en invitation til at lægge mere af hi-fi-budgettet i forstærkeren snarere end at tilslutte en hvilken som helst surround-receiver. Sidder du allerede med en god forstærker, så giver Audiovector X3 Super utrolig meget vellyd for pengene. FAKTA 2½-vejs 1" diskant + 2 x 6" bas/mellemtone 90 dB følsomhed 4 ohm impedans 33 Hz – 22 kHz frekvensgang Farver: Hvid/sort pianolak Producent: Audiovector Pris: 10.000,- Importør: Audiovector   Af Audun Hage, 2. maj 2013
  • AudioVector Onwall Signature
    AudioVector Onwall Signature HIFI MUSIK (SWEDEN) Audiovector On-Wall Signature tested as one of the best sounding wall speakers. Click here to read the original REVIEW (Swedish)
  • Audiovector On-Wall / Ki-Sub
    Audiovector On-Wall / Ki-Sub
  • Project Hifi
    Project Hifi Pro-Ject Essential II Best turntable up to £400, Awards 2013. Pro-Ject chalks up another success: the Essential II is yet another excellent budget turntable For- Strong dynamics- Crisp rhythmic ability- Fun sound- Well made- Good cartridge- Easy to set-up and use   Against- Nothing    Pro-Ject’s track record with budget turntables is unrivalled. Over the years we’ve had various versions of Debuts, Genies and Essentials dominate this end of the record player market. This year it’s the turn of the Pro-Ject Essential II to shine. As the name implies this is a back-to-basics kind of product. There are no headline-grabbing materials or technologies here, just great build at a highly competitive price. Build quality The upgrade over the original Pro-Ject Essential is substantial. There’s a new, quieter and smoother motor, a different arm (now no longer a unipivot design) and a better cartridge in the form of Ortofon’s OM5e. Want to play singles? You’ll need to manually shift the drive belt to the larger step on the motor pulley. This is as basic as turntables get, but it’s no worse off for that; the money has gone into the engineering. The main bearing is nicely made, while the arm has a quality feel, with minimal play in its bearings. We’ve come across the Ortofon cartridge before. It’s a good, solid, well-proven performer. The Essential II is available in three finishes. The standard option is matte black, which costs £200. Add a tenner and you can have red or white alternatives. Every turntable we’ve come across needs care over placement to ensure optimum performance, and that’s especially the case here. There’s little in the way of suspension, so a rigid support placed well away from the speakers is advisable if you want the best results. Do this, and the Essential 2 delivers a terrifically musical sound. Sound quality Radiohead’s 15 Step shows the Pro-Ject to have a firm grasp of rhythms and strong sense of drive. There’s plenty of punch and a good level of insight into the production. The Essential doesn’t have the analysis to strip bare a recording like this, but neither does anything else at this level. What it does do is deliver the music in an exciting and entertaining way. It keeps us listening, wanting more, and that’s what makes this latest version of the Essential special. Move onto Orff’s Carmina Burana and the Pro-Ject Essential II delivers a sound that’s full of life and drama. We’re pleased by the deck’s scale and composure – these qualities aren’t very common with this kind of product. There’s a good amount of detail and enough refinement from that Ortofon cartridge to stop things getting edgy, too. Verdict Pro-Ject has done it again. The Essential II is a frill-free entry-level product that gets all the basics spot-on. It’s easy to set-up and even easier to enjoy. It makes listening to records fun, and we can’t ask much more than that.
  • Pro-Ject RPM5.2
    Pro-Ject RPM5.2 Pro-Ject RPM5.2 A minimal change over the earlier model, but the RPM5.2 remains an excellent buy   For- A superbly rounded sonic presentation good build and easy to set-up price includes cartridge   Against- No dust cover or lid supplied   What's the diffference between this turntable and its Award-winning predecessor, the RPM5? The most obvious changes amount to a £25 price rise and swapping out the old Ortofon 510 cartridge for a recently introduced 2M Red (which costs £60 on its own). Pro-ject has also re-engineered the deck's drive motor for a smoother operation. So given the changes, does the RPM 5.2 remain a competitive proposition? The short answer is yes. This is a fuss-free turntable: it's easy to set up, and comes pre-fitted with the cartridge. All you need do is follow the well-written manual: it's simply a matter of screwing on the feet, adding the platter and sorting out the arm settings. The RPM5.2's isolation system is limited to squashy feet, so we'd advise you to site the turntable well away from the speakers and on a dedicated light and rigid support. If you have a suspended wooden floor, use a wall shelf. Trust us, the results will justify the hassle. Also, a deck such as this deserves a decent phono stage: budget about £100 if your amp doesn't already have one. Attack and drive aplenty The RPM5.2 sounds notably better than before. The 2M Red cartridge rightly deserves most of the credit, delivering greater clarity, composure and dynamics than the original unit. That said, the real strength of this package remains its sonic balance. The RPM5.2 has enough attack and drive to make the most of Nirvana's Nevermind while having the refinement and dynamic reach to make Orff's Carmina Burana a real rollercoaster ride. Few rivals we've heard can cover all these bases with such skill. To sum up: this Pro-ject deck was great in its original form, and is a better buy in its latest guise. Very few audio products do everything well, but, at the price, the RPM5.2 is among those rare creatures.
  • Pre/Amp Box RS Hifi Choise
    Pre/Amp Box RS Hifi Choise Klik på billedet for at læse hele testen
  • Naim Audio DAC-V1
    Naim Audio DAC-V1
  • Arcam FMJ AVR 750
    Arcam FMJ AVR 750 By Steve May It's been a long time coming, but Arcam's new flagship AV receiver was definitely worth the wait It's probably fair to say that Arcam doesn’t rush its AV receivers to market. It’s been four years since the launch of the brand’s last flagship, the AVR600, which in the world of home electronics is something of an age. At least the brand doesn’t undersell them when they arrive. The AVR750, it says, is not just the finest home cinema receiver it’s ever made – it’s also the best-sounding stereo amplifier, too. Quite a claim, and the guys from Cambridge may well be right. Certainly this new AVR is a powerful vindication of the company’s philosophy that there needn’t be an unbridgeable divide between two-channel and multichannel entertainment. Whether playing Lou Reed’s Transformer or Michael Bay’s Transformers, there’s an authority to this amplifier that’s deeply reassuring. But there’s also a conservatism to the feature specification that may well disappoint badge-hunters. Arcam’s a very different company now to what it was when it first released the AVR600. The brand has shifted manufacturing from the UK, and found a new lease of life via its series of new media accessories. Both impact the AVR750 in different ways. Back in the day, Arcam receivers were just a little bit cranky, which set them apart from their mainstream competition just as surely as their sonic attributes. That eccentricity has been ironed out of the AVR750; it feels altogether more polished and refined and is a much smoother component to drive. The Arcam behaves much as you’d expect it to, while the clear-cut specification makes it a supremely easy AVR to install and tune. In terms of design, this newcomer is just beautiful. Its clean lines and dark-grey bodywork reflect the familiar FMJ aesthetic. There are no hidden flaps or manual control knobs. The fascia merely presents a status display window underscored by a dozen buttons, which offer on-body +/- input selection and volume control, mode selection and so on. A 3.5mm aux input for both analogue and optical digital sources and a 3.5mm headphone jack offer the only front-panel hookup. At 16.7kg, the model also exhibits serious heft. The neatly laid-out rear panel is as generous as it is clean. There are seven HDMI inputs and two outputs, both of which are ARC (Audio Return Channel) compatible. Curiously, one of the inputs is labelled VCR, which is clearly a little ridiculous. This vestigial nomenclature can also be found on the remote control. There’s also a trio of component inputs, four legacy phono AV inputs and a Zone 2 analogue output. Digital audio options include two optical and four coaxial. Should you feel the need to haul in an external power pusher, there’s also a 7.1 bank of pre-amp outputs. As is the trend these days, though, there are no multichannel analogue inputs. This might just be an issue if you have a legacy Super Audio CD/DVD-Audio deck. The receiver is a seven-channel design, using multi-voltage Class G amplification. It can be configured as a full 7.1 system, or as 5.1 with two channels serving a second zone. Alternatively, users can opt to bi-amp the front stereo pair in 5.1. For this review, the AVR750 was run in its 7.1 configuration. Network entertainment is delivered via an Ethernet input; there’s also a rear-mounted USB, which when the HDMI inputs are populated becomes virtually unusable. External control support includes RS232, plus 12V and IR triggers, which can automatically switch on connected kit. Revamped electronics While some elements of the AVR750 recall its antecedents, there have been big changes beneath the hood. The entire HDMI and video processing stage is new, sourced from Analog Devices. This is quite a change from its predecessor, which featured software specifically written in-house by Arcam. Unfortunately, that bravery led to a number of reliability issues. In comparison, this platform appears bulletproof. The receiver’s video switching time has improved, too, and the AVR basically handshakes with every hot plug as soon as it’s powered up, which dramatically improves overall slickness and usability. All sources can be upscaled to 4K resolution. The supplied CR450 remote is a backlit, learning zapper. It also comes pre-programmed for other Arcam devices, and, in time-honoured tradition, button functionality changes depending on which source device is selected. A comprehensive guide to this multi-functionality is provided in the tutorial booklet. Despite its high-end designation, the AVR750 is not a difficult receiver to set up and optimize. Typically in a home cinema system, you'll declare all speakers to be small regardless of their physical size, thereby allowing the subwoofer to handle lower-frequency information. However, given the AVR750’s audiophile leanings, this approach may not always be appropriate; helpfully, you can elect to configure the AVR750 for stereo listening differently. The Arcam ships with an Auto Speaker setup calibration mic, which performs the usual enclosure measurements and room EQ sleight of hand. You can elect to manually select which inputs benefit from this equalisation – ideal if you prefer certain sources uncoloured. While I preferred the AVR750 sans EQ in two-channel mode, this calibration certainly helped multichannel material. The routine takes a little longer to complete than rival systems, but positional accuracy is very good. Inevitably, though, some further tweaking was done to get the most agreeable sound balance. When it comes to a user interface, the AVR750 offers a utilitarian face to the world. In fact, the UI is the same as that featured on the AVR600, but at least it’s far more responsive this time around. Cinephiles more concerned with the performance chops of the system are unlikely to be put off by such frugality. The AVR750 is networked for audio, offering playback from uPnP-enabled devices, as well as internet radio via vTuner. Media compatibility is standard, with MP3, WMA, WAV, FLAC and M4A/AAC files all playing from both USB and across a network from a NAS. There’s no album art support, though. There’s no screensaver mode, either – so plasma owners beware. Two-channel tenacity In audiophile guise, Stereo Direct is the way to go. This bypasses all processing and circumnavigates surround effects. As there's no bass management, nothing is directed to the subwoofer channel. The resulting two-channel performance is positively seductive. Seraphim (Angel Mix) by Digitonal, a FLAC download from Linn Records, has a soundstage that grows wider and deeper as the track progresses, and the AVR750 sings along sweetly. Arcam makes no bones about the fact that this receiver has been engineered first and foremost to convey believable music, confident that once that’s achieved all other aspects will fall into place. The AVR750 sounds similarly glorious with multichannel music (EQ employed). Kosuke Yamashita's The Earth Overture in 192kHz/24-bit 7.1 Linear PCM is suitably grandiose. Of course, AV-Holics might be forgiven for thinking that any AVR whose DNA was forged in a musical furnace will sound fey and gutless with ballsy action fare. However, this Arcam will prove them wrong. The AVR750 is brawnier than a pumped-up Sylvester Stallone – an analogy given credence by the lengthy pre-credit sequence in The Expendables 2 (Blu-ray). The AVR750 delivers the magnificent chaos of this madcap 7.1 DTS-HD Master Audio mix without the vaguest hint of exhaustion. As Sly’s Bad Attitude convoy blasts through the Nepalese compound, the receiver disgorges ordnance and falling masonry with huge dynamics. The wraparound imaging is fast and furious, with dialogue cleanly delineated (no mean feat given the scenery-chewing cast). It’s all breathlessly exciting. There’s a temptation with the AVR750 to see just how far you can push its reserves, but in anything other than a theatre-sized space you’ll hit the pain threshold before the receiver squirms. The AVR750 doesn't feature an over-abundance of multichannel processing modes. Codec support covers the basics – Dolby TrueHD, Dolby Digital Plus and Pro-Logic IIx, along with DTS-HD MA and DTS-ES 6.1. Arcam's top-flight receiver holds no truck with height or width processing (hardly surprising considering it only offers seven channels) nor any of the virtual science proffered by the likes of Sony’s STR-DA5800ES. This is very much a classical AV package. That's not to say fun can't be had with some of the Arcam's old-school modes. With genuine 7.1 mixes still in short supply, Dolby Digital EX works well in fleshing out the surround with 5.1 sources. The opening sequence to Transformers: Dark of The Moon (Sky Movies) immediately becomes more immersive when EX is applied. As the animated Paramount logo encircles the listener, the 360-degree pan gets a little vague in 5.1; with EX on and those rear back channels engaged, there's no holes in the wall of sound. The receiver is rated to deliver 130W (into eight Ohms) with two channels driven, dropping to around 100W when all seven channels are in flight. However, this doesn't really give a sense of the transient response offered by the onboard power plant. This can run 20W of low-distortion Class A across all channels (more than the AVR600 and cooler, too), but switches in another supply using larger capacitors when things really kick off. Which is probably why it sounds so elegant with music but is unfazed by mayhem. As an aside, it’s worth mentioning that I also listened to the AVR750 utilising Arcam’s inspired rBlink. A diminutive Bluetooth DAC, this allows users to stream from their mobile device to the big AVR. The results were surprisingly musical. Effortlessly confident There is no escaping the fact that Arcam’s AVR750 is a magnificent-sounding AV receiver. Easily the most accomplished AVR from the brand to date, it’s effortlessly confident with multichannel and is a luxurious two-channel listen as well. While it’s perhaps regrettable that little operational niceties such as HDMI passthrough and GUI flourishes have been ignored, particularly given the lofty price point, the business-like specification probably won't worry those seeking second-to-none audio. This delivers a titanic listening experience, regardless of your sound and vision predilection. Book a demo now now. HCC VERDICT Arcam FMJ AVR750 Price: £4,000 Approxwww.arcam.co.uk Highs:Marvellous sound quality with wonderful clarity and huge dynamics; simple to set up and use; sturdy build quality and fuss-free design Lows:No HDMI passthrough; no integrated web services beyond vTuner; USB port is awkward to access; silly VCR input label Performance: 5/5Design: 5/5Features: 3/5Overall: 5/5
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  • Opalum Flow 4810
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  • AVTech OPPO BDP-103 D ”Årest High-End Blu-Ray Afspiller”
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  • OPPO BDP-103 D Home Cinema Choice ”Best-Buy”
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  • Sæsonvarer
    Har du i tankerne om nyere brugt hifi anlæg og gerne vil spare samt have garanti for dit køb? Så er det her du skal følge med, da vi jævnligt har demovarer i showroomet der skal udskiftes til nyt.
  • RHA T20
    RHA T20 Af: Kim Olsen - 22/12-2015 ( Nerds.dk) I det skotske højland sidder en flok audionørder du aldrig har hørt om - og de laver in-ears der er lige så gode som deres whisky Skotske RHA Audio er ikke specielt kendt herhjemme, faktisk er de så ukendte at de ikke havde nogen dansk distributør da vi første gang hørte om deres produkter. Det er der lavet om på, og dermed var vejen også banet for en anmeldelse af firmaets topmodel T20. Modellen er i Danmark blevet prissat ret aggressivt til 1749,-, hvilket er en del billigere end den tidligere er blevet solgt til – bl.a. i Københanvs Lufthavn - og det er faktisk også er under den officielle pris i Storbritanien. T20 er udstyret med dobbelt svingspole, og i realiteten har man lavet et tovejs system da selve enheden også er todelt, den inderste del af selve driveren er koblet til den inderste svingspole, og den yderste del af driveren til den ydre svingspole. De fungerer uafhængigt af hinanden, og tager sig af hvert sit frekvensområde; det inderste håndterer diskant og øvre mellemtone og det yderste del tager sig af nedre mellemtone og bas. Selve huset er i støbt stål,, og det kan både ses og høres. Selve bøjlen til at fastholde huset sidder fantastisk godt fast, men den hverken klemmer eller trykker noget sted, og er ganske fleksibel. Også den er lavet i et metalisk materiale, og fuldender den kvalitetsfornemmelse man får. Selve øreproppen sidder fast på et tuningsfilter der kan udskiftes, og man kan således veksle mellem neutral, bastung og diskanttung tuning. Testen er gennemført med det neutrale filter, men det bastunge filter kan absolut anbefales til technofans, mens diskantfiltret ganske vist lægger mere vægt på de høje toner, uden at man af den grund får skåret trommehinden ud af kraniet. Basfilteret kan bedst beskrives som at få monteret en subwoofer direkte i øregangen. Selve ørepropperne fåes i sæt af to, standard sidder der silikone på, men der er også double-flange og memory foam, sidstnævnte støjisoleret yderligere, omend at standard sillikoneudgaven nok vil være nok til de fleste. Der er i alt 10 sæt, så det burde være muligt at finde noget der passer til den enkeltes øre og smag inden for støjisolering. Testen er foretaget primært med standard dobblelagssillikone ørepropper. De kommer i en slags holder/ramme som gør det nemt at holde styr på de forskellige størrelser og typer. Kablet er lavet i iltfri kobber med forgyldte tilslutninger, stikkene er forstærkede, og kablet er beklædt med en form for gummi. Det hele virker ganske holdbart og gedignt lavet. Der er også en bærepung i læder med, og det er meget gennemført med fokus på kvalitet. Designet er lidt specielt. Selve huset er nærmest formet som den inderste del af det ydre øre, og marketingmaterialet fremfører at det er for at øge støjisoleringen. Det virker, og det ser heller ikke dårligt ud. Lyden Generelt er det neutralitet, åbenhed og detaljeret dynamik der er kodeordene. Det er den type produkt der er svært at beskrive fordi at de ikke rigtigt gør noget forkert, ikke engang prisen, og man ender med at lave en lettere lalle-glad anmeldelse da der ikke rigtigt er noget der trækker ned - en type produkt der desværre heller ikke er så mange af. Men vi gør dog vores bedste i den følgende tekst.   Billie Holidays “Day in, Day out” har flere enormt positive tilvejebringelser. Først og fremmest så er blæsergengivelsen med det helt rigtige "trut" og skarphed i afslutningen. Der er det "rigtige" rum og luftighed i diskanten, og både makro- og mikrodynamik er det bedste denne skribent endnu har hørt i et sæt in-ears der kunne betales. Stortrommens energiudladning er ramt lige i rumpetten, og opløsningen gør at gengivelsen er virkelig gennemført. Man må så leve med det relativt høje støjgulv indspilningen har, og det er jo nok ikke noget der lader sig ændre. Herudover skal der lyder et stort bravo for måden som stemmen niveaudifferentieres og ændres på fra det ene øjeblik til det andet. Queens “I’m going slightly mad” har en detaljegrad og diskantseparation de fleste gode højttalere vil være misundelige på, samtidigt med at detaljeniveauet er ekstremt højt.  Efterringningerne på lilletrommeanslagene er noget af de bedste der er hørt, og lyden er omsluttende men stadig med en klar definition af de enkelte instrumenter, ekkoeffekter og hvad der ellers er. Det er bemærkelsesværdigt hvor mange detaljer der er kommet med på Rammsteins “Mein Land”. Violinensemblet høres klart og tydeligt i baggrunden på hele gengivelsen på trods af at nummeret er en veritabel mur af lyd, og på mange lp overspilninger kan de små skjulte knas og hvin rent faktisk høres.   Michael Jacksons “Beat it” har meget klare kordetaljer, drivet i grundbeatet leveres noget separeret fra resten af nummeret, men separationen af enkeltelementer er også en af RHA T20's store forcer. Anslagsenergien i mellemtonen leveres ganske overbevisende, og dynamikken nærmer sig dermed en traditionel over-ear hovedtelefon i den bedre ende. Dire straits “Sultans of swing” leverer en god transientkontrol ved tamslag, men uden at slaget/ekoet ved anslaget mistes. Bækkenanslag leveres med den korrekte metalklang uden at blive fnidrende, og Fenderguitaren lyder af Fender. Et par enkelte voldsomme rumlelyde/drøn afslører også at det er en overspillet vinyl der er master på nummeret, og ikke HDCD versionen der normalt bruges. Mark Knopfler har en god dybde i stemmen uden at blive til Johnny Cash.   Der er ekstremt meget hul, præcision, transientkontrol og hul igennem på stortrommen på Dizzy Mizz Lizzys “Love me a little”. Bassen anes bag stortrommen, og kunne godt være lidt bedre defineret. Her er det dog nok den på dette nummer valgte forstærker der er problemet, for T20 kræver mere end bare en alm. lille hovedtelefonforstærker for at spille optimalt. Med Joja Wendt og hans "Mit 88 Tasten um Die Welt" er klaveret er virkelig godt gengivet, rum omkring instrumenter og opløsningen er yderst imponerende, især med tanke på at det er et sæt in-ears til under 1800 kroner. Her er T20 umiddelbart uden for enhver konkurrence af hvad vi har haft på testbænken de sidste mange år. Igen er differentiering og fintmasketheden af energienniveauet på anslaget på de enkelte tangenter fantastisk, og selvom det aldrig kan blive det samme som at være til koncert, så nærmer vi os trods alt kraftigt. Bassen er kælderdyb men stadig præcis og det overskud, headroom der er i gengivelsen er sublimt med prisklassen in-mente.   Dave Brubecks ”Take Five” er dybest set bare en gentagelse af overstående, nu med blæsere. Der er usædvanligt meget hul igennem, og den måde energien gengives i et  blæserinstrument gør det uden tvivl den mest realistiske altsaxofon-gengivelse der er hørt inden for hovedtelefonkategorien. Realismen i gengivelsen er i det hele taget endnu en gang meget imponerende. På Lindemanns ”Skills in Pills” formår T20 som stort set de eneste hovedtelefoner testet at separere instrumenterne på titelnummeret og samtidig at gengive detaljeret, især i bassen, der dog stadig har sin energi bevaret. Samme mønster gentages med Don Turbolento hvor den meget energifyldte dybdebas rent faktisk er defineret og hørbar. Lumsk-nummeret "Dunker" fremstår med tydelige rumdetaljer fra optagestudiet. Den fine norske stemmepragt fra Stine-Mari Langstrand fremstår så flot og ren som man nu kan forvente det, dynamikken og anslagsenergien i mellemtonen er ganske imponerende på lilletrommeanslagene, og timer perfekt med basgangen og de små diskrete anslag på guitaren. Har man hang til Infected Mushroom giver T20 også mulighed for at få motioneret øregangen med stenhård og knusende præcis bas, dog uden at mellemtonen lider under det. Selv med basfilteret på synes der ikke kvalitativt at være mangler. Johnny Cash ”A boy named Sue” giver et godt stereobillede, men Johnny Cash stemme og liveoptagelsens rumgengivelse er den virkelige stjerne. Gengivelsen er klassisk Cash, og den indlevelse der er i stemmeføringen kan kun få matche, og det fanger T20 på glimrende vis.  Der er ganske gennemgående et enormt overskud og nærmest luftighed i gengivelserne, og en ro at spore. Lisa Ekdahl ”Vem Vet” er en fornøjelse uden lige, og så er der endda små fraseringer på basguitaren som man stort set aldrig hører med in-ears der kan høres tydeligt. Instrumenterne har lidt mere luft at gøre godt med, og det gør identifikationen meget nem, uden at man har behøvet at komprimere noget sted. Vem Vet nummeret kan nemt lyde fersk og lidt spidst hvis afspilningsudstyret bare har de mindste smule lyse tendenser, men her kan man måske synes at bassen er svagt hævet i niveau og modvirker dette. SammenlagtDen danske pris er endt på ekstremt aggressive 1749,- kroner, og det er ret svært at se at der generelt skulle være nogle reelle konkurrenter, heller ikke på en absolut skala, medmindre man er villig til at betale urimeligt mange penge. RHA T20 er det tætteste man kommer på at skrue et sæt gode højttalere direkte ind i øret. Opløsningen, dynamikken og energigengivelsen er imponerende. Prøv dem før din nabo.
  • Norsk anmeldelse på Audiovector højttaler

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