Review: Weiss Minerva vs Sparkler S306 vs Sony BDP-S190

Review: Weiss Minerva vs Sparkler S306
Review: Sparkler S306, Part I
Review: Sony BDP-S190, Part II
Talk Digital: Non-Oversampling

Revised January 13, 2016 (added Caveats of Blue Ray Player as Transport, and Sparkler S306 warm up time)

For Review: Sparkler S306, Part II, please click here.

As I continue to simplify my already simple enough system at my current abode (last iteration here), I temporarily retired my Micromega system. For CD transport I fell back on my trusted and humble Sony Blue Ray Player, BDP-S190, which can also play Blue Ray Audio discs, of course. I installed the Sparkler S306 DAC and did a comparison with my shidi Andrew's Weiss Minerva. This report is long overdue. There is a lesson here relevant to my last article on HiFi Basics.

Weiss Minerva
As CAS hit its stride, DAC's underwent a renaissance, with 24/192 capable ones leading the "Hi-Res" "revolution". In the USD 1K category, Benchmark arguably led the pack in widespread acceptance (I personally find it a little lacking in musicality). Price-wise, between the Benchmark and more rarefied stuff like dCS came Weiss, which was quite successful (especially in Asia) in marketing its Minerva (and then the very similar DAC202/DAC2).

Minerva employed a DICE chip for Firewire and used isolation input transformers. DAC appears to be ESS Sabre.

One interesting bit: since Weiss, with its professional roots, has always emphasized so-called "science", almost all the reviews of the Minerva (HiFi News, computeraudiophile, positivefeedback, 6moons) only employed CAS. Only one of these reviews (6moons) even bothered to try the coaxial input with a CD transport, finding it inferior in resolution. There lies a problem, as we shall see later.

Previous Experience I have heard the Minerva, and its closely related successors, DAC202/DAC2, on many occasions. For Hi-Res, I have heard the local distributor's uninspiring setup with Dynaudio active speakers. A friend's all-Weiss CAS was also underwhelming (report here).

Of course, I have heard the Minerva play CD's too. The owner of this unit only started to listen to CD after he replaced it with the Berkley Alpha (reported here). He also compared the Minerva to my Micromega MyDAC at his place (reported here).

In this article, in contrast to all previous press reviews, I only used in my own home the coaxial input of the Weiss Minerva, thereby evaluating it only as a "common" DAC (let's admit it, Firewire users are few and far in between). Also, I only use Weiss' RCA outputs, which may be a different thing from the balanced outputs. However, I do think a reasonable judgement on the basic qualities of the DAC can be had.

Sparkler S306
The Sparkler S306, like the 47 Labs stuff it hails from, is as far away from the Weiss Minerva as you can get. This is a 16-bit non-oversampling (NOS) DAC employing the TDA 1543 chip. Official data:

• D/A converter: Philips 16 bit non-oversampling DAC TDA1543
• Rate: 32kHz, 44.1kHz, 48kHz
• Re-clock: discrete BJT extra low jitter oscillator
• Crystal: high grade (for professional wireless devices), low drift (within 5..7ppm) crystal
• I/V conversion: discrete BJT current feedback architecture

The S306 is available with only one input. USB and I2S options are available. Now, with sampling rate up to only 48 Hz (no "Hi-Res" files) and no oversampling, why would anyone want this for CAS? Read on.

Talk Digital: Non-Oversampling The evolution of digital playback/CD players is a huge topic by itself. Early players use very low oversampling (or none) and were accused of being coarse. Yet, even the very primitive 14-bit CDP's with low oversampling have their adherents (like me) for its analog-like directness. Fast forward: after oversampling became the norm, some Japanese re-examined the NOS concept. 47 Labs, from which Sparkler is derived, has been a long-time adherent. But one of the earliest exponent is Kusunoki san (tnt interview).

The digital NOS concept has later been propagated by Kondo san (and hence its spinoff, AN-UK). Because of simplicity and cost concerns, NOS DAC's took off like a wildfire in the DIY community. TDA-1541 and the lesser TDA-1543 were the most popular. Many people used multiple stacked DAC's, which to me seems to negate the simplicity. Not so obvious, but to me implicit in this is that even NOS die-hard's recognize that the simplest may not be everything.

AN-UK took the concept for a run. It even introduced NOS into its cheapest ZERO/One range, with the NOS One 1x DAC. To me it trounced its Zero (24/96) player. Those were the days...

For me, NOS DAC's, if well implemented (like Sparkler), has a well-articulated sound, but with large-scale, complex material some (not all) may not respond as well, coarsening in the fray. Similarly, with modern DAC's, complexity is well-handled, though simpler stuff lacks the rhythmic flair that NOS DAC can bring. To each his own.

Think about this: even today, when CAS emphasizes the "prefect bit", reading everything many times over for "correction" and when "Hi-Res" and oversampling and upsampling are rampant, some discerning audiophiles still would not dismiss NOS low-bit DAC's - isn't that something?

Technology is not necessarily a cure-all - something is lost when something is gained; you just have to know your own priorities.

Summary of my views on NOS vs oversampling:

• The simpler the music, the fewer the instrument, the better NOS shines - there is a directness that more complex algorithms miss. On the other hand, with very complex music, such as a large symphony, oversampling may prove steadier, with less raw edges.

• NOS, like Analog, has better Rhythm and Pace. The more you over-sample (or up-sample for that matter) the less pointed the music becomes. This negatively affects jazz and pop music more than more complex large orchestral music.

Sony BDP-S190 Blue Ray Player
This is an old model, just a plain vanilla Blue-Ray Player, lowest of the range. However, as I reported in Part I, its performance as a CD player is not bad at all. I have heard Blue-Ray players in 2-channel audio several times , and every time they proved competent. Also, I believe Blue-Ray Players, like DVD Players, make for very reliable transports for CD, as we shall see.

Listening Notes
System used:

CDP/Transport: Sony BDP-S190 (Belden 1694A coaxial)
DAC: Sparkler S306 or Weiss Minerva
Amp: Naim Nait 3
Loudspeakers: Yamaha NS-1000
RCA to DIN Interconnects: Gotham GAC-4/1 and Gotham GAC-2/1

• Channel Classics Sampler CD Channel Classics is a good classical label with excellent artists and exceptionally good recording quality. This Sampler is a tribute to its recording engineer with 25 of his favorite tracks. Various recording venues were used, and the well recorded ambiance information provide very good tests for DACs.

• Weiss Minerva Used via its coaxial input, the Weiss was an even but not quite inspiring performer. Although the flow of music is, for lack of a better word, somewhat "digital", at least there are no digital nasties to be heard. Sound is upfront and everything is clearly heard, but I find, like many modern DAC's, ambience clues are not well conveyed (Track 12, Rachel Podger's solo Bach was recorded in a church, but you would not know it listening to the Weiss). One thing, this unit must be a later unit, with a small screw between the analog outputs. Turning it reveals indentations which determine output level. When I first got it, sound was too soft for me, and it took this discovery to get back some energy missing with a higher output level.

• Sparkler S306 As expected, this DAC is almost the antithesis of the Weiss.Coming right off the Weiss, one strains a little to hear certain details, but soon finds most of them present, though less upfront and embedded together with the correct ambience clues. Good ambience information is what I have long noticed with the 16-bit TDA-1541 chip, the much costlier brother of the TDA-1543 used here; and now I can also confirm that the same admirable quality is present in the TDA-1543 as well. But I know not everyone (especially non-classical listeners) value ambience, and some HiFi-oriented audiophiles just may prefer the more upfront Weiss. When it comes to the flow of music, there is no comparison, as the Sparkler completely trounces the Weiss. Again, many audiophiles simply do not have pace, rhythm and timing (PRaT) on their consciousness, and hence may not notice at all the NOS DAC's greatest quality. The S306 DAC should be basically the same as the one in the S303 CDP (my brief reviews, Part I and Part II), but to me it sounds less sharp, with an almost sweet quality. Also, it seems the S306 handles complex passages better. The S306 does not have the take-no-prisoner quality that the S303 possesses. It is logical then to attribute the sound difference to the difference in transport. Quirks S306 is a little picky about the coaxial cable - some of mine just do not work well (occasional clicks and pops, like a poor wifi connection). See below for other issues when using a Blue Ray Player as transport. Warm Up Time The S306 takes a while to reach optimal performance and it is intentionally powered up continuously. I did unplug it to test the AMR DP-77 and when re-connected the S306 sounded subpar for quite a while.

• Sony BDP-S190 as Transport Using the PCM digital output, the Blue Ray Player is a top-notch CD transport. I can hardly fault it in any parameters. In many ways, for the more complex and large-scaled music I listen to, I think it is better than the simple mechanisms that 47 Lab/Sparkler use (see above), steadier, more rounded, but perhaps less sharp. But there are some Caveats: (1) Unlike CD Players/Transports, the Digital Output is NOT automatically on. When you stop the music, the digital output is lost. With the Sparkler S306 (which has no auto-muting) you get a loud pop; so turn down the volume before hitting the stop button. Similarly, when you insert a disc, the digital output only comes on after the disc is read; with the Sparkler S306 you again get a pop; so also turn down the volume when you start to play the disc. (2) With the Sparkler S306, I sometimes get crackles when the Blue Ray Player's HDMI cable is connected. This is understandable as the HDMI carries also digital signal, so maybe there are conflicts. Remember, without the HDMI connection, you don't get metadata and has to count when you change tracks. So, unless you can put up with nuisances like these, a Blue-Ray Player is not recommended for Sparkler S306. I only have this one Blue Ray Player, so I don't know what I described is universal or only pertinent to Sony, though I suspect it is the former.

• Sony BDP-S190 analog out  As I reported in before, its performance as a CD player is not bad at all. But this time, coming up against the Weiss, I had even more revelations. It is perhaps even cooler than the Weiss, and things are a little flatter, but the BDP-S190 outperforms the Weiss in pace, has more details and better ambience retrieval!

Conclusion

• Spec's and "advances" mean nothing. Something is lost as something is gained. Particularly in the digital realm.

Langevin 102 Preamplifier

L: Langevin 1961 Catalog, from internet (Preservation Sound); R: system upstream. Click pics to enlarge.

Letter from NYC (42) 2015 (4): Langevin 102 Preamplifier - My Reference System III
Review: Elekit TU-8500, Part VI Use as Buffer Amp
Review: Lepai 2020A+, Part II

Links relevant to this article:
Reviews of Lepai 2020A+, Part I; Dayton B652, Part III; Almarro M1A
Phonoamp Shootout (with Parasound JC3, Part II)
Elekit TU-8500 Review Part I (with links to II-V)


Casual got Serious
Compared to years past, I had less spare time during my stay in NYC this year, and what time I had were piecemeal. My large systems (see equipment list in sidebar) saw relatively little use compared to my "Casual System". This left me to ponder a drastic upgrade of the system to reference status - "casual" should also mean quality!

Acquiring the Vida, which can hook up two turntables in Reference System II, freed up the Parasound JC3. Also, I have long wanted to set up my professional Langevin preamp, which has enormous gain and . So I got the idea of using my Elekit TU-8500 as buffer amp, to control the listening volume. All sources are connected to the TU-8500 System is now as follows:

Digital: Sony XA-5400ES SACD/CDP
Turntable 1: Clearaudio Concept/Ortofon Kontrapunkt C
Turntable 2: Audio-Technica AT-PL120/Raos MC Mono
Phonoamp 1: Parasound JC3
Phonoamp 2: Elekit TU-8500
Buffer Amp: Elekit TU-8500
Preamp: Langevin 102
Amp: Lepai 2020A+ or McIntosh MC-2200
Loudpseakers: Almarro M1A or Dayton B652

Click pic to enlarge.

Langevin 102 preamplifier
Considering the innumerable roles audio play in our lives, it is appalling how poorly audio history is documented. Which is why we all should contribute a little.

History The best known Western Electric is the best documented, but its various spinoffs are less fortunate. Langevin is the most important of these (actually incorporated much earlier and long supplier to WE), but its history is barely documented on the internet. Its very close ties with WE is immediately obvious from the similarity of its products (at its peak in the Golden Era) to WE. The products are superior in every aspect, and deservedly escalate in value.

The professional world in which most Langevin products are used provide tidbits of information (see here, here, and here). Langevin products and consoles were widely used in recordings. The company lasted into the transistor age, and its name was later acquired by Manley, which did not seem to do so well by it.

Documentation Descriptions and Schematics on the 102 series (A-G) are available in original Langevin literature from vintagewindings. My unit looks to be the 102-B/F fitted with the optional 103-B (for more info on 103 A-C, see vintagewindings) input panel and has a matching 201 Power Supply. Also, from the technicalaudio site, you can get more useful Langevin info: Description of Various Line Series; 1952 Catalog.

Acknowlegement: most sincere thanks to the folks who selflessly put these valuable info on the internet for free. Salut!

Design and Tube Complement The 102 is similar to the more famous WE 106 preamplifier, which employs the famous WE 348 and WE 349 tubes. The 6SJ7 is electrically identical to 6J7 except for pinout. Mine was re-wired for 6J7 (with its top-cap), hence enabling use of WE 348. And WE 349 can be used in lieu of the output tube 6V6. Output is similarly transformer-coupled. The 103B panel is not used. Right now, I am not using WE tubes, instead Sylvania 6J7 and National Union 6V6. The 201 Power Supply can use both 5Y3 and 5U4 types. I have used both but settled with the Tungsol 5Y3 for less heat, as sonically it is as good as the We 422. My unit was restored by Master Huang 臺北黃老闆 in Tapei, who has restored numerous WE units, including a pair of WE 124 that I have. He has very high praise for the unit.

Gain Like the legendary WE 106, these being professional equipment not originally designed for home use, the gain is enormous. I am not sure of the spec but the 102A is in the vicinity of 55 db! My unit thus is configured for both fixed and variable outputs (I use the former). Hum is therefore a potential problem, especially with high efficiency speakers. It would be interesting to try out this for phono direct in (after only RIAA application and sans phonoamp)!

Setup and Sonic Impressions

• Settings The setup has three volume knobs, and setting is somewhat aribitrary, arrived by listening. The lepai 2020A+ was used as an amp, with volume around 12 o'clock. The volume of the Langevin (fixed output) was around 11 o'clock. With these settings, the volume knob of the Elekit TU-8500 hovered around 10-12 o'clock. The interconnect from the Elekit output to the Langevin input is very long (not desirable but of necessity), around 15 feet.

• General Sound I first listened to the system using the dirt-cheap Lepai amp, and the result shocked me, that is how good it is. I would think most of this is attributable to the excellence of the Langevin 102. The sound has strength in every department. Most importantly, it is superbly lively. Indeed, it gives my Reference System I (always cooler than reference System II) a run for its money, lacking only power and bass heft.

• Langevin 102 Particularly impressive is the pristine high frequency. A miracle, in fact, considering the input is through a very long interconnect and a buffer amp. I think there is not a little of the single-ended 6V6/349A quality here. You may want to know older Chinese vintage tube lovers dubbed the 6V6 tube 琴王 the king of string instruments. The sound is very similar to my WE 106 (in which I use WE 348A/349A), and that is the highest accolade. In passing, note too Shindo used to use the WE 349A in his Giscours. As with the 6V6, the sound can turn lean with bad recordings, but with most material the midband and bass are beyond reproach.

• Elekit TU-8500 I rolled in RCA 6201 black plates and the sound was so good I let them stay. So users should try 12AT7 family tubes too! Set to unity gain (actually 1.1), the Elekit performed flawlessly as a buffer amp. Its neutrality allowed the full flavor of the Langevin to emerge. Commendable! Too bad I do not have the iFi iTube on hand to compare (next year perhaps). Not surprisingly, it also functions very well as a phono amp for the Raos MC Mono cartridge (shall be covered in a coming article). With this, I think I shall conclude my series on this gem.

• Parasound JC3 As mentioned in my last article (roll down), with an Ortofon Kontrapunkt C, I played Willy Deville's Miracle (acquired after hearing it played in Audioarts) and was compelled to listen to the entire side, a luxury for me these days. The high gain of the JC3 is not needed in this setup (indeed a detriment) but its quietness was again proved in this very high gain setup - remarkable!

Article finished in HK.

Editor's Note: 2012 in Retrospective, Best Buy of the Year

Nothing beats Western Electric (pictured 133 on top and 124B). Click to enlarge.

Editor's Note: 2012 in Retrospective, Best Buy of the Year
Follow Up: Sony BDP-S190, Part II
Follow Up: Sony PlayStation 1, Part II

Revised Jan 6, 2013

Once again, I have failed to write the yearly retrospective before the year's end, but this time I have more excuse than before! The year 2012 had been quite a mad year for me, and personal matters took the helm. This necessarily means fewer things to write about, but it shall not be for naught I assure you. As I look back, my 2012 in audio was idiosyncratic (I like that), and MOST meaningful for rediscovery of "old friends" (I like that even more).

Most Notable Events

• Western Electric Without a doubt, the biggest event of the year was: Nothing New Under the Sun. Western Electric (posted here) 133A and 124 amplifiers worked their magic, and reminded me in no uncertain terms that WE remains supreme in audio achievement, bar none. People have asked me repeatedly why I had put aside my 133A for so long; I can only say: so as to explore other things, worthwhile or not....

• Mono Analog Replay Mono Analog Replay (treated in at least 3 articles here), which some have advocated for years, is definitely not anachronistic, not a step back. It is simply something that makes one re-evaluate what one is listening to. One asks again, perhaps Less is More?

Best Sound of 2012
I am not going to be humble here. The best sound I have heard in 2012 was from my very own Western Electric gears.

Most Important Acquisitions

• TAD TSM-2201 (reported here). This paradoxically at once boldly-styled and low-keyed design was a match made in heaven with Kondo M7 + Ongaku (result here). You are certain to hear more about this.My loudspeaker purchase of the year.

• KEF LS50 The co-axial design is superbly coherent. You shall too hear more about this (preliminary findings here).

• Denon DL-102 Mono Cartridge (reported here). Mono is all the rage. This studio/transcription perennial deserves its fame.This very heavy cartridge needs a robust arm to do it justice.

• Thomas Schick Tonearm is a 12" bargain compared with others more expensive (tested here). One day I'd love to install the Denon DL-102 on the Schick.

• Sony SCD-XA5400ES SACD player for once convinces (reported here).

Best Buy of the Year

• Thorens TD-309A turntable (here) This humble turntable delivers more than one expects. The tonearm performs way beyond expectation, and is a great match with the heavy Denon DL-102 mono cartridge. In terms of one-stop solution, this TT now displaces even formidable rivals like Clearaudio Concept (a previous Best-Buy). I'd love to try out Koetsu and stuff on this arm, but time is in short supply.

• CineMag CMQEE-3440A made famous by Bob's Devices (here). Whether you DIY or buy from BD you are certain to be happy.

• Denon DL-301 Mk II MC cartridge is a dark horse but its superb musicality is instantly captivating (reported here).

• Canare L-2T2S (here) is superbly musical for a ridiculously low price.

• Sony BDP-S190 Blue Ray Player (here) is superb. Follow Up: Since that initial evaluation, I have confirmed the transport section of this entry level Sony Blue-Ray player is as good as any previous DVD models, every bit the equal of the underground classic DVP-PR50P (a previous Best-Buy) (in fact they are indistinguishable). The analog out sound too is very clean, audibly cleaner than the DV-PR-50P but perhaps just a little less warm and emotive. I suspect any Sony BD as well as DVD player shall deliver excellent sound. Best-Buy in digital for sure.

Vintage Rediscoveries

• Yamaha NS-10M (posted here) shows the best of yesterday is fully competitive today.

• NAD 3020 (here) proves it is immortal. 

• Technics SL-1200 Mk II (here) surprises yet again.

• Sony PlayStation 1 (here) shames most current digital products. Follow Up: In one go I performed two of the modifications outlined in the dogbreath page: removing the muting transistors as well as the output blocking caps from the signal path. I am sorry to report that while more details could be had the sound lost some of its musicality - its raison d'etre and its magic. I suspect I prefer the sound with output caps, though it may take some trial and error to reach an improvement. You shall hear more about this PS1!

Suggestion for a US $1k system that will shame your friend's $10k system
This requires you to source used goods, from the likes of Ebay, but you shall be rewarded amply. Not cheaptubeaudio, but cheap audio for sure:

• Yamaha NS-10M
• NAD 3020 (not the i version, please read my link)
• Sony DVD player (as the Blue Ray is more expensive, I am sure the current entry-level DVD players are likely sonically as good as their over-achieving predecessors. I see the DVP-SR210P, successor to the 200P, sells for $30! :-) Even I may buy another one to try!)
• Technics SL-1200 Mk II. Since the NAD only has an MM section, if you use the Denon DL-301 Mk II cartridge, you will need to add a step-up transformer (suggest the cheap Denon AU-300LC or the older AU-250 (here) and that will increase the budget a little. If you stay with MM cartridge, I suggest the cheap and cheerful Shure 97xE (<$80).
• NAD 4020A (here), the original matching tuner for the NAD 3020, if you need a tuner.

Review: TAD TSM-2201, Sony BDP-S190

Review: TAD TSM-2201, Part I

Review: Sony BDP-S190, Part I

Review: Pioneer SP-21BS-LR, Part II

Sometimes the system achieves synergy without much effort. Here I am reporting on some unusual combos that effortlessly gelled. But first, introduction of some new players.

TAD TSM-2201-LR (official info)
The TAD is relatively new and there hasn't been any report in the major audiophile press. But in a short time it has acquired quite an underground reputation. This Taiwan review has great pics of the drivers and crossover.

The 86 db, 4 ohm TAD is not small, quite bulky in fact, as it has to house an 8" woofer. Its unusual shape reminds me of Darth Vader. There is rumor that there is soon to be a bass module, a TAD "puppy"! I find that difficult to believe, but let's see.

TAD, made in China In HK, it caused a frenzy because of the affordable price, and the first lot sold out in no time. You don't often find affordable loudspeakers bearing the name TAD. Last time it was more than a decade ago, when the TAD TSM-300 sold like hotcakes here. The TSM-300 achieved legendary status and its second-hand price remains very high today. Ten years later, the TSM-2201 sells for roughly the same sum as the TSM-300, so how do they do it? The answer is, these are now made in China instead of Japan.

A Cautionary Tale I briefly auditioned them before buying at Audio Unison 阿二 in Mong Kok. The salesman 阿志 was very nice. I asked for a tube amp, and they used a Manley PP EL34. The sound was quite uncolored and not bad. I quickly decided and had a pair delivered a few days later. As soon as I hooked them up, I heard a buzzing sound on a piano cut in one of the tweeters.Switching the left for the right confirmed my worst fears, a defect for sure. Two days later, I took them back and exchanged for another pair. I have to commend the shop for their service. But I am a bit alarmed that this should happen to TAD!

Sony BDP-S190

Regular readers of these pages know my devotion to Sony products extends to the bargain category. Previously, the over-achieving DVP-PR50P and DVP-SR200P won my Best Buy 2010 award. Those made me watch closely Sony's next moves.

Enter the Blue-Ray era. Sony's entry level BDP-S190 (I think model name may be different depending on your country) caught my eyes. I don't yet have any Blue Ray discs, but shall be getting some. Finally I took the plunge and got this player - to first try out its audio quality. I have posted pictures of the internals in my Preview.

Sound
Over this period, I have the speakers upright and tried several combos. The TAD TSM-2201 effortlessly reflected all changes, but remained highly musical. If you associate "monitor sound" with "coldness", you are mistaken (or using the wrong gear) in this case. Gears used:

Digital 1: Sony CDP-553ESD as transport/Sonic Frontier SFD-2 Mk II
Digital 2: Studer A730
Digital 3: Sony BDP-S190 Blue Ray player
Digital 4: Sony Play Station 1 (after small mods)
Analogue: Lenco GL-75/SME 3009S2i/Denon DL-103R
Preamp: Leben RS-28-CX
Amp 1: Rotel RB-870BX
Amp 2: Wavac MD-300B
Amp 3: Kondo Ongaku
Integrated Amp: NAD 3020


Round 1 Leben + Rotel Brand new, the speakers tended to sound just a trifle lean (so is the Rotel when not warmed up), but there was nothing grating at all. The combo drove it effortlessly. I was immediately impressed by the the TAD's sense of scale. This ain't no puny bookshelf sound! It is a big sound, room-filling and substantial. Its vertical dispersion is better than anything in its class. Bass was not particularly deep, but quick and authoritative. I quickly settled into playing with all kinds of toys and enjoyed telling the differences. The clean sound responded well to the tubed SFD-2 and the 16-bit A730. The brand new Sony BDP-S190 however performed beyond my expectation. A very clean but musical sound. The TAD reflected every minute difference in the source.

Round 2 NAD 3020 In many ways, this simple setup yielded nothing to the previous combo, and it made me have great respect for the NAD! Read my report here. The warm sound of the NAD suited the TAD to a T. So there, you can drive TAD on the cheap!

Round 3 Leben + Wavac This came as a great surprise. I have read that the TAD is power-hungry, so contrary to my usual practice I was not in a hurry to try out my SET amps. When I hooked up the Wavac MD-300B, I expected gross distortion. But no! The 300B amp drove the TAD surprisingly well; there was no sign of the sort of irregularities (like muffles treble) that one associates with inadequate power. In fact, the TAD gained from the increased microdynamics on offer (a matter of fact with SET amplification).

On the Signum recording, which is NOT particularly outstanding, I heard an incredible amount of extraneous sound (like pages turning, baton hitting the stand etc), attesting to the outstanding resolution of the TAD. I relished the ending to the Cinderella, a cornucopia of colors delivered in the inimitable St Petersburg fashion. Yes the TAD reproduced all that with ease!

With most material, I actually prefer the TAD driven by 300B. Recently, this is my daily staple. I don't hear many trade-offs. The bass may lose just a little control but it is still fulsome and powerful. Even Mahler played quite well, with only occasional audible soft-clipping. Yes, there is a bit of compression here and there, but the overall scale is surprisingly intact. And yes, I can easily tell the Zurich orchestra does not have the colors of the St Petersburg!

I think I'd not casually advise people to go the SET route with TAD, unless you have a really high quality preamp as well as a well built SET amp with good transformers. However, it should be said that my previous experience with the TSM-300 was highly positive. That model could be even more easily driven by SET amps. However, the TSM-300, even if placed horizontal, suffered from bass control when so driven. In this important respect, the TSM-2201 is better - the bass remains controlled even with less power. I am sure a good PP tube amp shall also drive the speakers well. As a matter of fact I don't think they are a particularly difficult load.

TAD TSM-2201 vs Pioneer SP-21BS-LR
Despite the gargantuan price difference, these are made in the same factory and likely employ the same tooling. You can even see the mesh used are of the same type. If you look at the pics in my Part I Review of the SP-21BS-LR, you shall see even the crossover components look similar. Of course, the TSM-2201 has better drivers and cabinet, and it bears the name TAD rather than Pioneer, but this makes the Pioneer appear even more of a bargain. The Pioneer we know was designed by Andrew Jones, who as TAD head engineer I presume also designed the TSM-2201. Sonically, the difference between the two is big. The TSM-2201 can play much louder and has more details and micro- and macrodynamics, but comparison also shows the cheap Pioneer to bear quite a bit of sonic resemblance (essentially superb neutrality) and to be a great value.

Conclusions

• The TAD TSM-2201-LR immediately catapults to the top of my "small" loudspeaker list. It shall for sure be a "Best Buy 2012" component. In its class, I think its transparency and dynamic prowess would be unsurpassed for quite a while.

• The Sony BDP-S190 is a marvelous CD player! You shall notice that during this period I have been playing with a few different digital sources. There shall be a slug-fest report later. Rest assured that even in this august company the Sony is not shamed!

Next, I shall have the TSM-2201 horizontal. I am sure, as in the TSM-300, the sound would scale new heights.

Preview: Sony BDP-S190, Part I

Preview: Sony BDP-S190，Part I

This machine looks good. The chassis is plastic though it can fool you into thinking it's aluminum. When I set out to remove the top, I was shocked to find out that the "chassis" is not bolted on, rather snapped into the metal bottom! Not a screw! You should take care bending the fragile plastic!

此機外形漂亮，但看似鋁的機殼是塑膠，且容易花。最離譜的是，機殼與金屬機身是扣上的 （用右方的母扣和左方的公扣），沒用一顆螺絲。拆除的時候要小心。

Half the internal space is occupied by the mechanism. The rest is divided between the ubiquitous switch-mode power supply and the small main board stuffed with surface mount components.

機内光頭佔了 1/2 的位置；簡單的 Switch Mode 電源 1/4；主綫路板 1/4，全 SM 零件。

The main board had a metal piece silicon-glued to the main IC. I guess this facilitates heat dissipation and perhaps also performs shielding duties. I did not remove it to look under.

主綫路板上鎖了個金屬片，中心陷下去的地方是用來散熱的，粘在 IC 上，故此沒法拆除，不能看清楚下面。

The sound is crystal clear. report later.

聲音初步印象比較高清，但絕對不差，稍后會和 DVP-PR50P 比較。

Review: Sony PlayStation 1

Review: Sony PlayStation 1 (SCPH-5003)

Home Visit: Tannoy Gold Reborn - Maggies, ESL Step Aside!

I think it was almost a decade ago, long after the PlayStation1 had become obsolete, that certain audiophiles started to re-appraise it. It took quite another while before the underground reputation reached the internet audio press (6moons), not to mention the mainstream (namely Art Dudley's informative and well written 2008 Stereophile article).

Various Versions There have been many revisions of the PS1. Read the wikipedia entry and here is also a chronological list of hardware modification. As stated in the links in the first paragraph, most agree that the version to have is the one with RCA analogue outputs that allows you to use your own interconnects. This means SCPH-1001 and -1002 in the US and Europe, respectively. My unit though, is SCPH-5003, which, according to the latter link is an Asian revision.

Click to enlarge.

Structure/Built The PS1 uses the KSM-440 CD-ROM for transport, and the DAC is the AKM AK4309AVM 16-bit sigma-delta DAC chip. I opened up my unit to confirm that these indeed are used.

Aside from the light plastic casing, built is very good, with the laser anchored on a metal platform and isolated by three rubber grommets. That is better shock absorbance than many so-called hi-end digital players!

Ergonomics Hardly great, as operation is via a linked umbilical cord. But, so are many older professional studio gears, like Studer! The Stereophile article has a diagram for instruction. On my unit, for some reason, even though it plays all discs in full, the forward button loses functionality beyond track 10. A nuisance.


Modification Given the underground reputation, the PS1 has seen many modifications, particularly from the DIY sector. A good guide and summary can be gleamed in this excellent site named dogbreath. I plan to follow some of his easier steps myself.

Sound

Before I proceed to write about my initial impressions, let it known that I shall be brief as they are pretty much in agreement with Art Dudley's. In particular:


"...During my first round of comparisons of the two output schemes, I wondered if the absolute phase of the RCA output was the reverse of the A/V output's. But the extreme smoothness of the PS1's sound in RCA mode (see below) confounded my efforts at a detailed back-and-forth comparison, and the whole matter ultimately proved too fiddly to hold my attention for long..."


"...the end impression was of a cannily tailored frequency range—that, and an exceptionally smooth sound, with no edginess or artificial grain whatsoever...."


"...Above all, with every CD I tried, the PS1 exhibited a superior level of rhythmic acuity, or—since it's true that an amplifier or CD player can't make recorded music sound faster or more propulsive than it actually is—a superior lack of the distortions that can blunt leading-edge transients and make music sound temporally dull and listless. Even slow, broadly paced music sounded involving through the PS1: the best and truest praise I could give it..."


pic: icefox's magnificent Tannoy's

Sonic Evaluation - Round 1

Remember my well-connected friend icefox, aka "the audio pimp" 淫媒 (so named by me for his ability to arrange visits of all kinds that satisfy all tastes, no matter how perverse). Yes, the one who is my taskmaster, who occasionally visits me just to whip me into shape.

You may also remember my numerous previous visits to his large industrial space. This man has wide-ranging tastes (including Maggies, SP100, and ESL) but it has always been Tannoy that shines in his place. Previously, his Tannoy 15" Gold's in original corner York cabinets (you can still see one right next to the door) had sounded very good.

As the pimp did me the favor of picking up the PS1 for me, it was time for me to visit his newest Tannoy setup. Incidentally, you may have noticed that I do fewer home visits these days, not only because of lack of time, but also because of diminishing interest - so few setups are really worth hearing.

The 15"s are now installed in a newly acquired pair of original rectangular York's and placed in the middle of the the room. Simple setup:


Digital Source: Sony DVP-PR50P (my previous Best-Buy selection) vs PS1
Preamp: Passive
Amp: Leak TL10.1
Loudspeakers: Tannoy 15" Gold's in original rectangular York cabinets

The sound instantly struck me as very good, AND very modern, without any trace of sluggishness. Apparently, this pair had the two frequency controls removed. I am sure that adds to the transparency though many vintage aficionado's may frown upon it. Initially, a pair of Optimus "super-tweeters" were attached and driven by an ss amp. After a few cuts we removed it - I did not feel it was needed!

The bass at first did not plumb the depth it should have, so I lifted up the front with a small chunk of wood - resulting in a cleaner bass that goes down lower (this trick works every time). The sound was so transparent that it was almost too much at times, particularly with violin tone. Also, in this large space, judicious use of volume has to be exercised - the Leak runs out of steam after a certain level, and the sound becomes fuzzy and loose, rather benignly distorted that is.

PS1 We swapped in the PS1 and to my ears the sound improved. The sound field shifted back and there was more representation of the recording venue. Martzy's violin was more richly nuanced. Indeed the sound was much more composed. The interesting thing was that resolution did not appear to be less than the 24/96 newer Sony player!

The system, which is only in the initial phase of setup, already sounds more than promising. It had totally outperformed what had gone before. Once again, the visit further strengthened several of my convictions:

• If you listen to a wide range of music, despite what many vintage fanatics maintain, later Tannoy concentrics are superior to earlier ones (Silver, Red etc). They are simply more even in frequency response, more extended in at both ends and go much louder. The Gold is as undervalued as the Silver and Red are over-rated.

• Original Tannoy cabinets always sound decent! I have heard too many bad reproduction cabinets.

• ESL is only suited to small spaces and simple music - there is no way to get around it, and it would never be for me. Maggies in larger spaces fare better but demand much effort - even then, the results would not be as good as a good pair of dynamic speakers. Not worth the effort.

• Digital gears need not be expensive. The Pimp sighed and confessed that modern digital stuff appeal to him less and less.

Click to enlarge.

Sonic Evaluation - Round 2

Back home, I was able to carry out more detailed evaluation. The PS1 was connected by a pair of Audio Note silver AN-V. Setup:


Digital Source: YBA WD202 vs PS1
Preamp: Leben RS-28CX
Amp: Wavac MD-300B
Loudspeakers: Tannoy Canterbury HE

My setup is smoother sounding than The Pimp's, and that should work against the PS1, but it was not so simple. I heard the same things, composure and a more recessed sound field. A few comments:

Output Level Although lower output levels can sound more refined, with SET amps usually high output sources work better, for obvious reasons. That is one reason I still keep my Audio Note DAC-2, which has a very high output level (I think 6V). However, both the YBA (a normal 2V) and miraculously the PS1 (a paltry 1.09V) manage to keep the music always engaging. When doing comparison, you must remember the PS1's 1.09V is >5db lower in level when compared the 2V output standard ! When level matched, the PS1 performs well. Many years ago, I heard a 1V Muse DAC at the now defunct HK Opera Audio - it did not work at all. The PS1 works much better at keeping the excitement while being refined.

Mechanical Aspects The PS1 is light. I tried various devices underneath it. None works better than doing nothing. BUT, as often (if not always), playing with the lid open improves the sound. To do this, you have to find a way keep down the piston at the upper right hand corner of the tray.

Composure The PS1 exhibits one rare quality. Unlike much digital, it gets better as it gets louder! That is an analogue quality, if you ask me! As Art Dudley said, the leading edge is more correctly rendered than most digital sources (also a sterling quality of the YBA). Sigh, the CAS people would never know that.

AKM The PS1 strengthened my conviction that AKM makes excellent chips. I am not sure why they are not more often seen in audio gears. Previously I had only encountered it in a Primare CDP (more about that and AKM here). If highest end Esoteric use them, they must be good!


Great fun! You'd certainly hear more about the PS1.