X-quisite - World Premiere

11 January 2020

Micha Huber was in town to launch X-quisite as the third product line after Thales and EMT. 
Hosted at Modular Audio Singapore, Micha presented a short history of Thales before unveiling two new cartridges, the X-quisite CA and X-quisite ST using patented technology. The cartridges use a monobloc ceramic cantilever which is aimed at overcoming the weaknesses in conventional cantilevers. Micha explained that conventional aluminium cantilevers exhibit deformation and strong resonance during playback, which results in slight loss of mechanical information. Even use of advanced materials such as Boron, Sapphire or Diamond still result in a weak point further up the cantilever, at the connection point with the coil body. The monobloc design was three years in the making in order to overcome the difficulties in design and manufacture. 

Micha passed around samples of the cantilever and the cartridge body. The body has fine grooves to route the cartridge leads and reduce vibration. A sandwich of wood and metal alloy are used to achieve a tonal balance which is highly resolving, yet natural and life-like. The "entry-level" model CA, utilises copper wiring with an aluminium and ebony wood body. The ST, uses silver wiring, Titanium and a wood body. Both cartidges output 0.35 mv, and a compliance of 12 um/mN. List price was quoted to be in excess of CHF 9,000 for the CA and CHF 11,700 for the ST.

Note the tiny grooves on the side for routing of the cartridge wires.

The monobloc cantilever and coil body.

Modular Audio then played back a wide variety of discs using a full Thales deck fitted with a ST cartridge. An EMT preamp cum phono stage completed the family lineup. An Audes Excellence 5 AMT speaker and Rogue Apollo tube monoblock amplifiers were used for the demonstration. 

The absolutely gorgeous EMT JPA 66 Mk II preamp cum phono stage.

The demonstration was a real treat - with very good inner detail, dynamics and slam. The system was obviously very high bandwith, with good bass articulation and plenty of air / shimmer in the high frequencies. I especially liked how the front-end combined both high resolution with tone density. 

I asked Micha whether he had any issues with high frequency resonance from using a rigid material like ceramic. He reply was that the resonant frequency was high and beyond the audible range, and also very low in amplitude compared to existing cantilever materials. Hence, he decided not to use any additional damping. I also asked whether we could look forward to more affordable cartridges from X-quisite using the cantilever monobloc ? Unfortunately Micha could only comment that the difficulties in manufacturing meant that the cost was also very high. Well, we can all keep our fingers crossed ! In the meantime, we can keep this in our audiophile dreams and fantasies.  

Nagra BPS Phono Stage - Brief Impressions

Introduction

As luck would have it, a kind soul lent me a Nagra BPS phono stage for a week to conduct an analog workshop for a small group. The BPS was handed over to me in a small plastic flightcase, which was a refreshing change from the equipment I have had to handle recently (which could double up as weights in the gym !)

Description

The Nagra BPS is slightly larger than the palm of my hand, and operates from a single 9V battery. It has a variety of loading and gain options, which should make it easy to mate with a variety of cartridges. MC gain is partly accomplished using in-house wound transformers.

The top cover of the BPS removes easily using the supplied hex key, giving access to various jumpers and the loading board. A separate hatch allows you to swop the 9V battery easily without having to open the top cover. 

The front panel has a single toggle switch with three positions, "on", "off" and "test" (for battery life). The rear panel has two pairs of RCA sockets and an incredibly small grounding post. A DC socket allows you to use the BPS with an external power supply (7-10 V DC). I used this feature only to keep the circuit warmed-up and switched to the battery for listening sessions.

Gain is a very healthy 53 db for MM and 64 db for MC. Jumpers allow you to attenuate the gain by 16 db if you require. The resistive load settings for the BPS are 100, 150, 220, 330, 470 and 1000 ohms. 

I was a bit concerned about battery life in use, but the manual states that the battery life is 100 hours, and in the 4-5 hours that I used the unit, the dealer installed battery held up fine.

Sound Quality

I tried it first with my high output MC cartridge, a Sumiko Blackbird. The high frequencies were distorted, but using the 16db attenuator fixed all of that. Compared to my Whest Two phonostage, the Nagra had a lighter and faster tone. 

The workshop host was using a midrange Pro-ject deck with an Ortofon 2M Blue MM cartridge. The differences between the Nagra and Whest were clearly audible, with some members of the audience preferring the more linear and extended sound of the Nagra and some preferring the more romantic tone of the Whest. The Nagra had a more neutral tone, with a very tight and fast bass line, and a drier but more extended top end. I also felt that the Nagra's soundstage presentation was more distant, but with better separation and more precise imaging.

Moving the Nagra back home, I tried it with my main rig, a Soulines Kubrick DCX with Jelco SA-750 tonearm. I tried a Hana SH cartridge - a high output MC cartridge (review coming) and a Shelter 5000 MC cartridge. I used my Graham Slee Reflex M and Elevator as a comparison phono stage. The Nagra sounded quite different in this setup. On both cartridges, midrange had a more laidback and subtly creamy quality to it, while both frequency extremes were clean and tightly controlled. The Graham Slee had a much more dynamic presentation, with a more vibrant and tonally dense delivery. Staging wise, the Graham Slee projected a more three dimensional stage, with a greater sense of depth and height. In comparison, you could describe the Nagra as being subtly expressive, but with a more restrained delivery.

Conclusion

Performance wise, I would put the Nagra to be on par with the Graham Slee duo, although their tonal balance are quite different. As a matter of reference, both phono stages are in a similar price bracket locally. Assuming that you like a more neutral tone, the Nagra is an impressive phono stage.
   

Sony PS-HX500 turntable to hit our shores next month

Anyone notice Sony's PS-HX500 turntable launched at CES 2016 ? The good news is that the PS-HX500 is expected to hit our shores next month. 

Pricing is to be confirmed.

Here is Sony's official press release and pictures. It's really great that major companies are back into the vinyl market. 

PRESS RELEASE

(SINGAPORE,  6  June  2016) 

As  the  global  resurgence  in  vinyl  continues,  Sony has announced a new premium turntable that enables vinyl owners to enjoy their favourite tracks in outstanding quality, even when on the move. In a world first, the Sony PS-HX500 allows you to convert  your  vinyl  collection  into  High-Resolution Audio  quality  digital  files  (equivalent  to  DSD quality) so that you can enjoy their unique sound wherever you may be. 

High quality sound detail

Made  for  music  lovers,  every  area  of  the PS-HX500  is  designed  to  deliver  the  best  possible sound quality  and  treat  your  vinyl  with  the  respect  it deserves.  From  a  newly  developed  tone arm to the die-cast platter and the plinth itself; every component has been carefully considered to deliver a great musical performance. 

The straight tone arm, designed with the stylus tip located in the central axis of the arm, ensures excellent stereo balance.  The arm  also features an  integrated  round head  shell  that  minimises resonance,  for  pure sound  reproduction.  An  anti-skating  device  is  incorporated  into  the  arm assembly,  along  with  an  arm cueing  system.  A  moving  magnet  cartridge  is  supplied  with tracking force and balance easily adjustable.  

The PS-HX500  has  an  aluminium  die-cast  platter  and  is  belt  driven  by  a  two  speed  motor. A high density  30mm  acoustic  plinth  is  featured,  along  with  a  newly  designed,  5mm  rubber mat and four insulator feet. A classical approach to turntable design, from years of past experience has produced a model which can satisfy the music enthusiast. 

Vinyl becomes portable 

Record enthusiasts can sometimes be faced with the prospect of inferior digital files of their analogue records for listening on the move. The PS-HX500 comes with a high quality DSD native converter, which gives the user the option to copy their favourite analogue tracks to a PC as a digital file, up to High-Resolution Audio quality. This allows the user to take their favourite music from their vinyl collection and play it on a compatible PC, mobile, portable music-player, or even in their car. The record player also comes with an integrated phono preamp, allowing direct connection to an external amplifier for high-fidelity home audio playback. 

The PS-HX500 is the world’s first turntable to support Double-rate and Single-rate DSD (5.6MHz/1bit, 2.8MHz/1bit), a powerful audio format that will reproduce your music with both accuracy and natural musicality. Furthermore, the AD conversion process can offer a choice of file quality from WAV, to High-Resolution Audio with higher bit rate and sampling frequencies, through to double-rate DSD. Users can therefore not only enjoy their records wherever they go but also appreciate them in superior sound quality. 

Easy recording and editing software 

Using the PS-HX500 PC application software, a vinyl can easily be converted to High-Resolution Audio files on the user’s PC and edited in post-production. The compatible software app is simply downloaded and after connecting the computer to the turntable, the recording process is quite simple. Tracks can later be edited, titled, cut, or combined together, allowing users to be truly creative with their music. The PS-HX500 will be available at all Sony Stores, Sony Centres and selected Sony authorised dealers from July 2016.

(All pictures are courtesy of Sony Singapore)

by a two speed motor. A

high density 30mm acoustic plinth is featured, along wi

th a newly designed, 5mm rubber mat

Mizik dPlay DA Preamplifier and dVin Phono-stage and A to D converter

Espresso anyone ?

Introduction

Mizik is a new company helmed by Javier Guandalajara. Javier is best known for his products sold by Wadax. Unfortunately, Wadax products are priced beyond the reach of most audiophiles, and thankfully, that is where Mizik steps in.

Mizik's product range consists of two products at the moment, a DAC cum preamplifier (the dPlay) and a phono-stage cum A/D converter (the dVin). I understand that Mizik should be ready with the dStream soon, a streamer/server product.

At the heart of Mizik is it's MusIC process - a patented Wadax process. To quote Mizik verbatim, "All audio circuits are susceptible to parasitic error mechanisms, mechanical and electrical effects that distort and alter the musical signal passing through them. To make matters worse, these distortions differ depending on the size and nature of the signal and effect not just resolution and information, but time and phase relationships within the music. The result is a loss of detail and transparency, but also a blurring of the timing and rhythmic patterns that define music and separate it from random noise."

Wadax tackles this by predicting the error via complex mathematical modelling and correcting the signal to eliminate distortion. MusIC is carried out in a proprietary MusIC chip. In order to bring this process to more cost effective products, only the most essential fare retained, which cuts down on the processing power required, and allowing them to be loaded onto commercially available chipsets, e.g. Mizik.

Description

Each Mizik module has identical dimensions (29 x 22.3 x 8.1 cm) and weight (5.5 kg). VIsually, they are quite stunning in the flesh, with a choice of matt or chrome finish. While the styling may be a matter of taste (an old style ATM or coffee machine comes to mind), you cannot help but admit that it does make an impression. I personally loved the looks, especially the chrome finish.

The Mizik module can be oriented vertically or horizontally, with a specialised base available for each orientation. 

The dPlay is well specified with three digital inputs (asynchronous USB, coaxial, Toslink and Mizik link). Both single ended and balanced outputs are available, as well as a 6.3 mm headphone jack. The proprietary Mizik link works using a HDMI cable. Unused ports include an Ethernet socket (for connecting to the yet to be released dStream streamer), and a socket for an external PSU. 

The touch screen front panel gives you access to all available functions, including volume control, and output voltage. The latter works on the headphone jack too, which means that you can select the output to either match the sensitivity of your headphones, overall gain of the system, or minimise the use of the digital volume control. The orientation of the screen can be rotated manually or set to automatically detect your chosen orientation of the device. Other settings include balance, input level, preamp mode, phase and dsd filter settings. The input level is an unusual setting that allows you to select trim levels for the different digital inputs. No manufacturer explanation was given and I left it at the default settings. The Mizik resets your volume to a lower volume each time you switch it on. Deactivating the preamp mode is accompanied by a warning that the level will be set to maximum. All these are nice touches to ensure a safe and pleasant hi-fi experience.  

Moving on to the dVin, a similar menu provides for levels of gain for the phono stage, three choices of phono equalization curves (RIAA, Decca and Columbia) and activation of the preamplifier section. One glaring omission in my view is the ability to customise loading. You get the standard 47K ohm and 100 ohm loading for MM and MC respectively. Capacitance for both settings is fixed at 100 pF.

A second set of RCA jacks allows you to hook up a line-level analog source (e.g. a tuner or tape deck) for purpose of A to D conversion. This permits the dVin to send the digitized signal via the Mizik link to the dPlay, or via a USB output for purposes of recording. Most purists would have headed for the door by now. Digitized vinyl ? The sheer heresy of it all ! Don't write it off just yet. The dVin does have a pair of line level outputs, so you can use it as a standalone device.

Sound Quality

dPlay

Initial listening sessions with the dPlay made it obvious that I was dealing with something very unusual and quite special. For want of a better description, it sounded very "right", natural and quite unlike any other digital hardware I've heard at this price level. MusIC at play perhaps ?

The best words to describe the dPlay would be sweet, fluid and very "analog" sounding. There is a lack of aggression and harshness that made music very easy to listen to. I also noticed that the Mizik brought the soundstage slightly closer compared to my reference DACs (Calyx Femto DAC and Totaldac D1-dual DAC), with an overall bigger image size.

Tonally, the dPlay had a light golden glow to it, with a solidity to the reproduction of brass instruments. This gave the dPlay good presence, and an almost turntable and tube-like character to it's presentation. Bass authority and power, as well as the very top most octave were slightly diminished, which gave music a bit less scale and airiness compared to my usual equipment. 

Otherwise, the dPlay performed well, with good resolving power and staging. I cannot overstate the immense listenability of the dPlay, which made listening for hours on end so enjoyable, even with less well recorded albums.

Compliments should also be given for the quality of the headphone output stage. After some modest run-in (24 hours), it really performs well - I would put its performance to be on par with most headphone stages below $1,000. 

While the DPlay supports DSD, I had some issues playing back DSD files on the dPlay. It worked fine for PC, but failed to work for my Auralic Aries (no lock) and Mac (sound quality issues). If DSD is important to you, it would be best to confirm with your dealer that your source is compatible.

dVin

I tried the dVin in both my analog setups. In my bedroom setup, the dVin replaced a Whest Two phono stage. Paired with a Pro-ject 2xperience Acryl, Pro-ject 9CC tonearm and Sumiko Blackbird High Output MC cartridge, the dVin handily surpassed the Whest Two, with an edge in bass impact and high frequency extension. The dVin also had better detail retrieval and separation, while casting a deeper and wider soundstage. The Whest Two promptly stormed off after a while, and sulked in the corner throughout the review period. 

Comparing the dVin with my Graham Slee Reflex M / Elevator phono stage / stepup was more interesting. The dVin had a sweeter and more relaxed tone, while the Graham Slee duo had a more dynamic and lively sound. Paired with my Soulines Kubrick DCX, Jelco 750D tonearm, and Shelter 5000 MC cartridge, the dVin was a bit too polite and dynamically restrained.

Tonally, the dVin is quite similar to the dPlay, with a sweet and fluid presentation. 

Notwithstanding my preference for my Graham Slee, there was no doubt that the dVin was serious equipment as far as phono stages go. To stop the review here, would be selling the dVin short. The dVin has far more tricks up it's sleeve. I made some high resolution digital recordings from the dVin with very good results, using a Macbook Pro running Sound Forge. 

Hooking up the dVin to the dPlay using the Mizik link brought a significant jump to the performance of the dVin with tighter and better controlled bass, finer resolving power and better staging. It would be a logical step to at least invest in both the dVin and dPlay together. Add in the yet to be released streamer, and you would have a complete solution.

Conclusion

The Mizik dPlay and dVin must probably be the most unusual components I've come across in a while, from both a visual and technical perspective. 

The dPlay is to me the clear winner, with it's strong level of performance and feature set. The dVin on the other hand, faces stiff competition. As a phono stage, there are plenty of options out there, but the scales would definitely tip in it's favour if you are looking to digitize your collection, and have already invested in the dPlay to maximize the dVin's performance via the Mizik link.

Mizik dPlay - Highly Recommended. Mizk dVin - Recommended.

Review samples were kindly provided by X-Audio Pte Ltd, local dealers for Mizik.

Mizik DPlay and dVin
Local Promotional Price - S$ 4,800 each

X Audio Pte Ltd
1 Jalan Anak Bukit
#01-01S Bukit Timah Plaza
Singapore 588996
http://www.xaudio.com.sg

Okki Nokki Record Cleaning Machine

Photos from official website

Introduction

The Okki Nokki record cleaning machine is probably one of the most affordable vacuum based record cleaning machines on the market. Locally, it costs a shade under S$ 900.

The Okki Nokki has a bi-directional motor (a useful function to brush the grooves of the record in both directions), and comes supplied with a small battle of record cleaning concentrate, and a goat's hair brush.

Operation

The Okki Nokki is quite idiot proof to operate. Two switches control the unit. The top switch toggles between clockwise and anti-clockwise rotation. The bottom switch controls the vacuum.

The vacuum motor has a useful automatic shut-off feature in case the reservoir becomes full. A visit to the kitchen sink, pull out the tube behind the unit, and drain the dirty fluid out.

With a bit of practice, you can apply the cleaning fluid, brush the surface over a few revolutions in both directions, and vacuum up the dirty fluid, all in about a minute a side. The vacuum arm is spring loaded and you push it down while engaging the motor switch. When you switch it off, the arm will lift off the record automatically. The arm is lined with replaceable velvet strips to prevent damage to the record surface.

Thankfully, the motor is relatively quiet (as far as vacuum motors go), and you should be able to vacuum your records in the late evenings, without risking a visit from your irate neighbour.

Even during relatively long record cleaning sessions, the unit was never more than warm to the touch.

Although the machine is sturdy and solidly constructed, it also shows signs of being rather rough in appearance and assembly. The metal panels do not line up perfectly, and some dings and dents are visible in certain areas (my machine was brand new !).

Of particular consternation was the fiddly record clamp. The spindle threads continued to flake off metal filings over many record cleaning sessions - a visit with the house vacuum cleaner proved necessary to remove the debris.

Also, no cover is supplied. A suitable acrylic cover is available as an optional extra. You would not want dust all over your platter, so you will need to find some way to keep the dust off.

Operation was flawless though, although there was a tendency for the velvet strips on the record cleaning arm to become saturated and to deposit liquid on to the records as it lifts up after the vacuum motor is switched off.

Results

Prior to the Okki Nokki, I was using a spray-on cleaner that requires a simple wipe off after application, without any brushing. While the spray was somewhat effective, it was expensive, and a chore to use. The Okki Nokki also had much better results.

Anyone with more than a handful of records really needs a good record cleaning machine. Many of my records were picked up from dusty piles yonks ago. I had written off almost all of those records - they sounded dull, lacking in dynamics - just awful.

After a clean, the records were quieter, clearer and more dynamic. Given our tropical weather and humidity, some of the records in question could qualify as fungus production farms. I am eternally grateful to the Hi-Fi Gods that I gave my records a spin in the Okki Nokki before binning them.

Conclusion

Give the Okki Nokki a try if you are looking for a decent budget record cleaning machine. It may not be the last word in finish and aesthetics, but it works well and is effective.

Given how much good vinyl costs nowadays, this is a must have investment if you are even remotely serious about vinyl.

Final recomendation - Okki Nokki ! (Thumbs up in Dutch)

Diary of a newcomer to the dark side

Day 1

Toying with the idea of buying a new turntable to complement my existing one (Bluenote Piccolo / Rega RB300 / Ortofon MC15II). The present turntable sits in my bedroom system and it would be nice to be able to spin my records in my main setup. The present setup is decent but not awe inspiring.

A frantic search on the internet ensues. A list of suspects is formed, Rega, Pro-ject, etc.

Day 4

A visit to the Pro-ject dealer, House of Turntables is made during lunch. The friendly duo at the House of Turntables  let me listen to the Pro-ject RPM 5.1 with Denon DL-160, as well as the Pro-ject 2 xperience Acryl with the Sumiko Blackbird. Both setups are mindblowing and definitely better than my Bluenote (I believe the MC15II is on its last legs). Payment is made for the 2 xperience as well as the Pro-ject Phono Box SE II and Speed Box II, and following that, is 5 excruciating days of waiting.

Day 8

An evening trip is made to Ikea to buy a chopping board to use as a base. The rack in the main room is full and the turntable will need to make do with a platform resting on the floor. I put some spare DH Cones and pads underneath the board. A small desk lamp is purchased too as the room is quite dark, and my eyesight is not the best.

Day 9

Kevin of House of Turntables shows up at my doorstep in the evening to deliver the deck and to help set it up. We spin a Jacintha record and we both proceed to pick up our jaws off the floor. Spent most of the night listening to records. 

Day 10

Bought some new records. Bought some record cleaning fluid and new LP sleeves. Spent most of the night listening to records.


Day 11

Bought some more records. Spent most of the night listening to records.

Day 12

Spent most of my waking hours (OK, I'm exaggerating a bit here) wondering whether I should have bought a better phono stage, and whether my loading is correct. Experimented with loading and left the Sumiko at MM settings (47 kOhm). The gain is a bit lower than usual, but the MC stage has a maximum resistance loading of 220 Ohms which is a bit too low for the Sumiko.

Day 15

Cleaned some of my dirty records. They sound great. I was almost ready to check them out.

Day 16

I start pondering on the benefits of upgrading my phono stage again.

I finally realised what the whole fuss was about. Good vinyl is good.... very good. It just needs a bit of work and effort to get it right.

Next step is to replace that ageing Ortofon cartridge for the Bluenote. I decided on the Dynavector 10x5. Unfortunately it was out of stock, so I have to wait until next month.

Never mind, good things come to those who wait.