The TD 2030 sits just below the top of Thorens current range of turntables and retails for £1725 including the TP 300 VTA tonearm, but no cartridge. Thorens, thoughtfully, includes a pair of cotton gloves to keep your dabs off the acrylic plinth during setup, so gloves on and off we go.
Since the acrylic plinth has no suspension, it’s a simple matter to position the deck on a suitable surface/table, and the plinth can then be levelled by screwing in/out the tip of each of the three feet. The heavy platter is an aluminium affair, weighing in at a substantial 6.
If you’re going to invest in a new moving-coil cartridge, who better to turn to than the first company to produce the MC cartridge – Ortofon. As discussed in last month’s ‘On Location’ report [Dec ’07, p112], Ortofon of Denmark has been building fixed-magnet cartridges since day one of the LP record, and it has continued to innovate, priding itself on high production runs with consistently high quality.
From the late 1970s, one name at Ortofon became associated with refinements to the art which were realised in legendary cartridges such as the MC20, the MC3000 and MC5000, the Rohmann and Jubilee – Mr Per Windfeld. Now retired, it befell new Chief officer of Acoustics and Technology, Leif Johannsen, to honour the company’s long-term designer with a high-end design that would bear the PW name.
When I reviewed the CD-2 CD transport/player last year [HFN, April ’08], I liked its clean, smooth sound quality, especially when set to the internal DAC’s native 24-bit/192kHz rate. Although a CD player, it is principally intended as a transport (being built around a high-quality Pro2 CD mechanism). The DAC chip included, while good, is not a high-end device, yet Bel Canto managed to extract a very pleasing performance from it. I wondered what Bel Canto could do given a bigger budget for the processing and analogue circuits.
There is something about the Italian high-end that gets my juices flowing. It’s the style, the grace, the sheer passion that goes into the design – and the absolute certainty that there will flaws of epic, forehead slapping proportion. Exhibit A – the Audia Flight Pre remote control. Utterly gorgeous, CNC-machined from an aluminium billet and offering an innovative multifunction interface that keeps the button count to a luxurious minimum.
It was something of a surprise to open NAD’s substantially sized packing box to find the PP 2 is only 135 x 35 x 70mm (whd). The review sample came in a dark grey metal enclosure but a lighter ‘Titanium’ finish is available too (see picture).
All you have to do is connect tonearm leads either to the MM or MC pair of labelled rear RCA phono input sockets, and switch accordingly, attach the arm earth lead to a screw terminal and plug in the ‘wall-wart’ mains transformer. Mains-on is indicated by a small green front-panel LED.
Flying mole – now there’s an interesting name that would appear to fly against the face of convention. In this case, it’s the convention of Class A/B transistor amps and thermionic devices that glow in the dark. I am not even certain that they have moles in Japan. I’ve been to Tokyo a number of times and haven’t seen moles on the menu, so can only assume that they do not.
Just one of some 20 Pro-Ject ‘Box’ series components, this little number is essentially an outboard – and self-powered – USB soundcard. Priced at just £75 and built into Pro-Ject’s now-familiar wrap-around casework, the hardware also comes with some software on a mini CD. Dubbed ‘Direct Streaming Technology’ this is an installer for Foobar2000, a media player that, on PCs at least, avoids the default Windows Kernel mixer.
The idea is to stream ripped CD media over USB at its native 44.
Canny audio manufacturers never seem to run out of new takes on old formats. Because of such lateral thinking, the humble and now familiar CD has weathered (easily) a few dozen silver disc variations, up to and including SACD and DVD-A, which achieved minimal market penetration. Leema’s equivalent of CD Viagra is to add so many DACs that you have to marvel not at the technological achievement, but at the price: the updated Stream still sells for under £1200.
As the company puts it, ‘Sixteen 24-bit/192kHz multi-bit Delta-Sigma converters are used in Leema’s unique MD2 Active Differential Multi-DAC to produce an incredibly real and tactile musical performance with almost no noise and distortion.
With its design team headed up by Dominique Giner, Metronome Technologie is a French high-end audio company founded in 1987. Alongside world famous hi-fi marques such as Koetsu, Audio Research, Krell Industries and Sonus faber, Metronome’s products are imported and distributed in the UK by Absolute Sounds of south-west London.
Recent visitors to hi-fi shows at Heathrow may have come across Metronome’s magnificent Kalista Reference CD transport with matching C2A two-box DAC making sublime music in one of Absolute Sounds’ ‘Absolute Studio’ demonstrations, partnered with DarTZeel amplification and Magico speakers. While Metronome produces some slightly more ‘real world’ CD spinners such as the CD3 Signature (a mere £6900 for the transport), the Kalista line-up represents Metronome’s no-holds-barred statement products.
It amuses me immeasurably that there’s a flood of new high-end CD players when the format is under serious threat. Even that über-geek bible, Wired, recently ran a blog titled ‘Vinyl May Be Final Nail in CD’s Coffin’ – rich stuff coming from the most digitised read on earth. So, are audiophiles now being implored to buy our ‘final’ CD players?
In the face of MP3, high-def discs and other threats, there are still billions of CDs out there. And I can tell you right now that many of us will not be replacing our collections again.
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