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Join us for our Rega Naia launch event on Friday the 6th of October

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Audiolab 9000 Network Streamer

Livin’ the stream: Audiolab’s flagship network player


Smooth and stable operation, state-of-the-art hi-res credentials, an intuitive, feature-rich control
app and a sound that simply soars – Audiolab’s top-of-the-range 9000N is a streaming tour de force
Audiolab’s flagship audio component range, the 9000 Series, welcomes a network streamer to its ranks.
The 9000N joins the 9000A integrated amplifier and 9000CDT CD transport, delivering feature-rich and
sonically captivating streaming from online services and local storage devices via Wi-Fi, Ethernet and
USB.


It comes as no surprise to see the 9000 Series gain a network streamer; after all, Audiolab’s entry- and
mid-level 6000 and 7000 ranges also consist of amp, CD and streaming components. But while the
6000N Play and 7000N Play utilise the Play-Fi platform, the 9000N’s additional development budget and
higher retail price has enabled Audiolab to explore new high-end solutions for its flagship streamer.
Following an exhaustive analysis of every available option, Audiolab selected a platform that is firmly
established at the forefront of top-tier network streaming, globally acclaimed for its slick, well-featured
app, unwaveringly stable operation, excellent technical specification and outstanding sound quality. By
integrating this leading-edge streaming hardware and software with Audiolab’s award-winning
digital/analogue circuit designs, the 9000N delivers the ideal streaming solution for the most discerning
of music lovers.



Sweet streams (are made of this)
Audiolab has worked closely with its new high-end streaming partner to ensure its technologies gel
seamlessly. The network streaming platform has been built from the ground up to deliver sonic
excellence, utilising a powerful, highly efficient ARM processor and Linux-based operating system. The
manner in which streamed audio data is handled, latency eliminated and sonically deleterious noise
eradicated all contribute to the glorious clarity and transparency with which music is conveyed.
The 9000N’s main control app provides quick, easy access to fully integrated services such as Tidal,
Qobuz, Spotify and TuneIn Radio, with a superbly intuitive yet feature-rich interface that makes
browsing a pleasure. Intelligent search functions and the ability to create multi-source playlists, group
albums and organise folders create a personalised experience that allows the user to discover, sort and
play their music however they prefer.


Impressive though it is, the 9000N’s dedicated app is not the only way to stream. Tidal Connect and
Spotify Connect permit direct streaming from within the Tidal and Spotify apps, and any UPnP/DLNA
app – mconnect or BubbleUPnP for example – can be used to control the 9000N. The provision of
AirPlay 2 is handy for users of Apple devices and the 9000N is also Roon Ready, able to slot straight into
a Roon audio environment and work seamlessly with Roon streaming software.
Hi-res audio support is state-of-the-art, handling PCM up to 32-bit/768kHz and native DSD up to
22.5MHz (DSD512) no matter how one streams to the 9000N – Wi-Fi, Ethernet cable or USB. Every
significant hi-res and lossless audio format is catered for, including FLAC, Apple Lossless (ALAC), WAV
and AIFF, alongside native DSD in DSF and DIFF form, as well as DoP (DSD over PCM).
MQA – the hi-res streaming technology, as used by Tidal’s ‘HiFi Plus’ tier – is comprehensively supported,
with full decoding/upsampling of MQA files right up to the format’s highest 384kHz specification. Full
decoding means that the full ‘three unfold’ decoding process is performed internally, as opposed to only
the final unfold in the manner of an MQA ‘renderer’. Alternatively, if the 9000N’s digital outputs are used
to connect an external MQA-supporting DAC, MQA ‘passthrough’ or ‘core decode’ may be selected – the
former allowing full decoding and the latter rendering by the connected DAC.
Listeners can opt to upsample lower resolution PCM streams to 352.8kHz or 384kHz, or select between
five DAC reconstruction filter settings, thus tuning the sound to suit the source material. This is
particularly useful given the variable quality of digital formats and streaming services.
Left The 9000N’s leading-edge streaming technology delivers sonic excellence and a consummate user
experience


Audiolab’s audio know-how
The 9000N packs impressive processing power under the hood. A quad-core Arm Cortex-A53 chip forms
the streamer’s ‘brain’, ensuring swift, rock-steady operation and additional benefits such as album
artwork caching for speedier loading. But no amount of processing power can redeem a streamer that
lacks the ‘audio smarts’ to deliver the sonic goods. Audiolab has drawn upon decades of class-leading
audio design to ensure the 9000N offers an exceptional sonic experience, making the most of the highend streaming technology that nestles within.


DACs from ESS Technology’s excellent 32-bit Sabre family are now used by many manufacturers, but
none rival Audiolab’s experience of designing circuits with these chips. The company was an early
adopter of the groundbreaking ES9018, released in 2009 and famously used by Audiolab’s classic
82000CD and M-DAC components which launched the following year.
Since then, Audiolab devices have featured successive generations of Sabre chips, culminating here with
the ES9038PRO – a preeminent DAC from the top tier of ESS Technology’s current range. The DAC’s eight
channels are fully utilised in stereo configuration – four for the left channel, four for the right – to
eradicate noise and distortion, accompanied by proprietary Audiolab circuitry including an ultraprecision master clock. This makes the most of the chip’s HyperStream II architecture and Time Domain
Jitter Eliminator, delivering a remarkable signal-to-noise ratio and exceptional dynamic range.
Although always technically excellent, Sabre DAC chips are challenging to implement to maximum
effect and must be integrated into a product’s circuit design with care to extract their full sonic
potential. The post-DAC active filter is a critical element and Audiolab has developed a new Class A
circuit for its 9000 Series components that is perfectly tailored to make the most of the ES9038PRO.
The 9000N benefits from an expertly engineered linear power supply incorporating a 50VA toroidal
transformer, delivering clean, consistent power to all the sensitive parts of the digital and analogue
stages. The DAC has its own dedicated supply, featuring multiple discrete ultra-low-noise regulators to
provide power separately to the left and right channels for each stage of the digital-to-analogue
conversion process – this is a design feature developed over a decade ago to maximise the quality of
Audiolab’s first Sabre-based DAC stages and it remains a vital contributor to the 9000N’s performance.
The post-DAC analogue circuitry incorporates top-grade components and features a balanced topology,
designed to eliminate noise and distortion in the signal path. This feeds the XLR outputs directly,
enabling anyone connecting the 9000N to an amp with balanced inputs to reap the full sonic benefits.
Left Available in black as well as silver, the 9000N benefits from Audiolab’s longstanding experience in
developing circuitry around ESS Technology’s Sabre DACs

Elegant form, sophisticated function
Crisply designed and impeccably built, the 9000N is a perfect match for the other 9000 Series
components. Two rotary controls (‘select’ and ‘volume’) and a single ‘standby’ button contribute to a
clean, assured look that reflects the streamer’s calm, composed operation – responsive, simple to
navigate and stable as a rock. This unfussy fascia is augmented by a 4.3in colour IPS LCD screen
positioned to the left – like a sharp Savile Row suit complemented by a perfectly appointed accessory.
The same screen graces the 9000A and 9000CDT, but it really comes into its own with the 9000N thanks
to its ability to display full-colour album artwork. A wealth of data is available to the listener, including
the presently engaged streaming service, playlist position, network type, file format, bit depth/sample
rate, artist name, album and track title, time elapsed/remaining and volume level – with various options
to select which information is displayed and how it appears on screen.


The screen is also the gateway to the 9000N’s menu system, providing numerous options including the
digital upsampling and filter settings, fixed or variable analogue output, left/right channel balance, time
idle before entering standby, volume curtailment upon powerup and Wi-Fi diagnostic data. Like the
9000A and 9000CDT, the screen can be set to display a VU-style meter showing real-time decibel levels
for the left and right channels, while those who prefer their displays to be simple and unintrusive can
turn animations off, adjust brightness and more.
Making connections
Around the back, the 9000N offers a well-appointed array of connections. A Wi-FI antenna and Ethernet
port handle network connectivity, while USB-B and USB-A ports permit asynchronous PC/Mac
connection and USB storage input respectively – so, the 9000N can perform as a USB DAC as well as a
network streamer. A USB update port and 12V trigger input/output are also supplied, alongside a WPS
button for easy Wi-Fi set-up.
Analogue outputs are provided in both single-ended RCA and balanced XLR form, with fixed and variable
output options – the latter engages the 9000N’s volume control, performing preamp duties for direct
connection to a power amplifier. S/PDIF digital outputs in coaxial and optical flavours enable the
streamer to be connected to an external DAC if desired.
Left With a wealth of information and options available, the 9000N’s display can be configured as the listener prefers



High-end audio that shoots for the stars but doesn’t cost the earth
Audiolab’s 9000 Series streaming component had to be worthy of flagship status and working with a
new technology partner was central to achieving this aim. Combining leading-edge streaming
hardware/software with Audiolab’s eminent audio design has delivered a remarkable network music
player that is a pleasure to use, whether streaming from online services and network-connected storage
via Wi-Fi or wired Ethernet, or computers and drives via USB. And as the capabilities of this worldleading streaming platform continue to evolve, so too will 9000N thanks to free over-the-air updates.
Like the other 9000 Series components, the 9000N is the epitome of affordable high-end audio: state-ofthe-art specification, uncompromising circuit design, seamless operation, build quality to be proud of
and a performance that brings music to life in captivating style. It delivers remarkable transparency
across all manner of digital formats, producing a deep, broad and spacious soundstage endowed with
crisply defined detail that reveals the full character of voices and instruments. Impressive dynamic
range, pace and timing convey engaging impact, fully involving the listener with all manner of music,
while the finest recorded details – the attack of a plucked string, for instance, or the decay of a
percussion instrument – are fully captured, never curtailed. In short, the 9000N delivers an open window
on the music being played, as all great hi-fi should.


The Audiolab 9000N network streamer is available from mid-September in a choice of black or silver, at
an RRP of £2,499 inc. VAT.

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WiiM Pro Plus arrives

Hot on the heels of the surprisingly good and very cheap Wiim Pro (£150) Network streamer, we now have the Pro Plus with better performance due to an improved DAC. And at £229 we think it offers pretty remarkable value for money and feature set.

Performance is better than we expected and put a smile on our face. Ease of use and set up is pretty class-leading too. We listened to it compared with the standard beast and we felt the small increase in cost was audible and well worth it. We've used this with fixed output into an audio system and also with variable ouput into a small power amp. Either way it worked seamlessly and well.

As an introduction to Network streaming this is pretty convincing. We think it will also appeal to the vinyl enthusiast who wants to "try before he buys", especially with the cost of new vinyl having risen over the last year.

WiiM Pro Plus - Powerful and Versatile

Turn any audio gear smart
WiiM Pro Plus is an audiophile-grade music streamer with AirPlay 2, Chromecast, DLNA, Spotify Connect, TIDAL Connect, Alexa Cast and multiroom audio. WiiM Pro Plus turns your existing stereo system into smart, so you can play all your favourite music from your music service App, the WiiM App, or your voice using Alexa, Google Voice, or Siri all in the highest possible sound fidelity.

Simple to set up and use
Step 1: Plug in the WiiM Pro Plus, connect to your stereo.
Step 2: Connect to your network with the WiiM Home App.
Step 3: Configure your device and play Hi-Res music.

AirPlay 2 Receiver
WiiM Pro Plus turns your stereo into an AirPlay 2-enabled receiver. Stream your favourite music from your iOS and Mac devices or stream TV audio from Apple TV. Use Siri on your phone or HomePod to control music selection, volume, and playback. WiiM Pro Plus is an easy and affordable way to connect your Apple devices to your favourite audio equipment at home. PLEASE NOTE: It's a receiver only device, can't transmit AirPlay 2.

Chromecast Audio
WiiM Pro Plus lets you stream music, TV audio, radio station, podcast and local content from any Chromecast-enabled apps to one or multiple audio devices at the same time.

All music in one App
It's more convenient than ever to control your music and device in one place. With the WiiM Home app, easily browse all your favourite music without jumping to other music apps. Amazon Music, iHeartRadio, TIDAL, TuneIn, Napster, Deezer, and Qobuz are all integrated into the WiiM Home app. You can also control the device EQ, set music alarms, and create personalised routines using the WiiM Home app.

Agnostic Multiroom Audio
Easily build your multiroom sound system with HomePod, Google Home, Alexa devices or multiple WiiM devices and play to multiple audio devices all at the same time. WiiM Pro Plus supports the multiroom from various audio source inputs, including WiFi, BT, or Aux/SPDIF input. Making it versatile with almost every music listening option.

Works with Voice
Ask Alexa, Siri or Google Voice to control your WiiM Pro Plus to play music, listen to news, or your favourite podcast with voice assistants in your phone, HomePod, Echo or Google Home devices. Automate WiiM Pro Plus with other smart home devices by creating routines in the Alexa App, Apple Home or Google Home App.

Spotify Connect and TIDAL Connect
Use your Spotify or TIDAL app as your remote control for WiiM Pro Plus and stream directly from these services. WiiM Pro provides higher audio quality and longer operational work range longer than traditional Bluetooth or AirPlay 2 receivers and frees your mobile device for other tasks. Spotify works for both Spotify Free and Premium users. TIDAL works for both HiFi and Master Quality.

WiiM Voice Remote
Upgrade your listening experience with the WiiM voice remote, which allows using the remote with your voice to search and control via Alexa (No extra Alexa built-in device needed), while also enjoying a super easy setup through the WiiM Home App to pair with any WiiM Mini or WiiM Pro Plus. Use the remote to control music playback, volume, mute audio, and launch your presets with one button.

Gapless playback
Precise gapless playback is essential to your listening experience. With precise gapless playback, playback timing is guaranteed to be identical to the source. WiiM Pro Plus uses two decoders to remove extra samples at the beginning and end of each file and combines them. This works for all the supported music services and music on your phone or local network.

10-band graphic EQ and 26 preset EQ
Twenty-six preset EQ gives you various choices to meet your specific listening needs. The preset EQ includes EQ choices from music genres, bass/treble adjustment, loudness, movie, gaming or speech enhancement etc. You can also custom your own with the 10-band graphic EQ for your room or taste.

Premium AKM HiFi DAC
The WiiM Pro Plus features the latest generation AKM 4493SEQ DAC. This high-precision, low-jitter DAC supports audio up to 768 kHz/32-bit, boasting an impressive 123 dB (A-wt) SNR and -115dB THD+N (1 kHz). It's the perfect choice for Hi-Res audio streaming, satisfying even the most discerning music enthusiasts with its superior audio quality.

Specification

ConnectivityIEEE 802.11 b/g/n/ac dual band Wi-Fi, BT5.1, Ethernet (100M)
Power InputUSB Type-C power
Audio Output/InputLine out, digital Coaxial Out, digital Optical SPDIF Out / Line In, digital Optical SPDIF In
SNR120 dB
THD+NAnalogue Line out: 0.00032%
Music inputUp to 192 kHz, 24-bit
Music outputUp to 192 kHz, 24-bit (Bit perfect output, i.e., output matches input source format)
Music FormatMP3, AAC, ALAC, APE, FLAC, WAV, WMA, OGG
Sample RateDecoding up to 192 kHz, 24-bit
ProtocolAirPlay 2,Chromecast Audio, DLNA, Spotify Connect, TIDAL Connect, Amazon Music Casting
Integrated Streaming SourcesSpotify, Amazon Music, Deezer, Tunein, Tidal, Qobuz,SoundCloud, Pandora, iHeartRadio, Napster, Soundmachine, Calm Radio etc.
Control DevicesiOS and Android based smartphone and tablet, Alexa speaker, Google Assistant speaker, HomePod
On device ButtonsCapacitive touch control: Play/Pause, Volume +/-, 1 x Preset
Accessories in packageUSB power adapter, Type-C Cable, RCA to RCA Cable, Optical Cable
Weight/Dimension14.1 oz (400 g)/5.5 x 5.5 x 1.6 in (140x140x42 mm)
Does not supportTransmit the Aux-in audio to AirPlay 2, Echo or Google Home devices, Group with other Sonos speakers in the Sonos App.

On demo now and available to buy here.

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Focal Autumn Headphone Promotion

Superb offer across range by trading in ANY old On-ear or Over-ear headphones! And in any condition. Simple bring your oldies in store, listen and select the new Focal model you want and enjoy the substantial discount. In fact up to £1000!


Get in touch for more information. Offer runs until the end of October 2023.

• Bathys:    £150 allowance
• Celestee: £200 allowance
• Clear Mg: £300 allowance
• Stellia:     £600 allowance
• Utopia:    £1,000 allowance

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Naim Audio 300 series arrives

Welcome to a new era in sound

Since 1973, the Naim Classic range has embodied the best separate Hi-Fi elements, combined to create the music system of your dreams. The 200 Series line includes the NSC 222 preamplifier and streamer, the NAP 250 power amplifier, as well as the uncompromising NPX 300 power supply. 

The 300 Series line includes NSS 333, a high-resolution streaming solution, the NAC 332 preamplifier, the NAP 350 power amplifier, the NVC TT phono preamplifier and its dedicated power supply NPX TT.

Designed and developed by Naim engineers in Salisbury, United Kingdom, these timeless products are the fruit of Naim’s unique electronics expertise. The New Classic Series is at the cutting edge of innovation and technology, bringing you years of listening pleasure.

The streamer/pre and mono block power amps are now on demo and we'll be putting them through their paces over the next few weeks.



We have an event in store and with Naim Audio on Friday the 13th of October from 12 till 5. Come along, meet Naim and the new 300 series. All welcome and no ticket required.

Rega Aya

Rega launch Aya loudspeaker

Breaking the mould

News recently got to us of something new coming from Rega and today we can announce the AYA loudspeaker. Developed over ten years by a team of Rega designers headed up by our founder Roy Gandy, the AYA loudspeakers promise to deliver a detailed, balanced performance no matter which genre of music you decide to play. Using Rega designed handmade drivers, coupled with our ZRR high frequency tweeter and a new crossover, our engineers have fine-tuned every aspect to deliver the best possible performance. The sculptured cabinets create a pleasing floating effect which adds to the unique appearance.


We'll have the speakers in and on demonstration soon and will provide you with our findings as soon as we can. In the meantime full specifications can be found beneath;

KEY FEATURES

  • Custom GRC cabinet (glass reinforced cement)
  • Band pass cabinet design
  • 2.5 way system
  • Rega designed ZRR high frequency unit
  • 5" Handmade MX-125 Bass mid driver
  • 7" Handmade RR7.8 Bass driver
  • Optional loudspeaker grilles
  • Lifetime warranty against manufacture defects
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In Conversation with........Peter Comeau from IAG Group

Afternoon Peter and thank you for taking out questions. Please could you introduce yourself and tell us what sparked your interest in HiFi and in particular loudspeaker design? 

Sure, I am Director of Acoustic Design for IAG Group and design loudspeakers for the brands Wharfedale, Mission, QUAD, Castle and Leak.  My first commercial speaker design was for Heybrook, a company I started with Stuart Mee in 1978.I grew up in the Devon countryside being surrounded and fascinated by the sounds of nature.  Sound is as interesting as vision when you’re exploring the countryside and its wildlife.  Plus I was exposed to a lot of church music, my mother was a piano player and organist and I sang in choirs and was a boy soprano soloist.  I suppose I just became fascinated with sound and, through that, capturing and reproducing what I heard for the entertainment of others.  I had a succession of reel-to-reel tape recorders and microphones and had access to decent amplifiers and it seemed to me that the weakest link was the loudspeaker. So I always wanted to make better speakers.

What was your first system? 

I guess you’re talking about hi-fi system because my first ’stereo’ was a reel to reel tape recorder.  At that time, in the ‘60s, I was fascinated by making my own recordings, even creating my own sound effects and going so far as to build a simple electric guitar as another element in my multi-track vocal recordings.  Anyway my first experience of hi-fi was my parent’s B&O system (with nice Peerless designed speakers) and, as a student, I assembled my own system with the innovative Cambridge P40 amplifier, a Lenco GL75 turntable with G800SE cartridge, and Wharfedale Unit 5 kit speakers.

What were the first loudspeakers that you designed, built or tinkered with? 

I tinkered with various full-range drive units in my own design of cabinets for a couple of years before realising that I really needed to start with a decent set of drive units and a crossover that properly matched them.  I chose the Wharfedale Unit 5 kit, which was identical to the Dovedale but you could build it into a larger cabinet for improved bass extension.

After you studied electronics at University, why did you go into retail and not into HiFi design & manufacturing? 

When I left University I really wanted to be an engineer in a recording studio and headed to London with that in mind, but ended up working in sales and service in various Hi-Fi Shops instead.  That was invaluable experience as it gave me a lot of insight into what customers were looking for and the problems they faced when putting together a system.

What did the retail experience do for you in terms of HiFi knowledge? How did you get into HiFi reviewing for magazines? Did you think your reviews offered a different perspective on HiFi? 

There’s nothing like having to deal with customers every day, whether you’re selling products or handling service problems, to force you to expand your hi-fi knowledge and to analyse why some products work together harmoniously and others don’t.  I was intrigued, for example, that the big JBL speakers sounded so different to the big IMFs and why the former suited hard rock and the latter classical and folk.  Similarly why did Japanese amplifiers have difficulty driving some speakers while UK designed amps had no problem? At that time (mid to late ‘70s) hi-fi magazines didn’t even begin to delve into these problems.

I’d discovered that Linn were making turntables that completely upgraded most people’s ideas of what a turntable could do, that Naim were making amps that could drive just about any speaker easily and that QUAD Electrostatics were the most accurate speakers on the market.  Then A&R Cambridge brought out the A&R A60, Rega introduced the Planar 2 and Stewart Tyler at Celef designed his great sounding Monitor speakers, all together making up a highly affordable, musical system. So I started recommending systems that were incredibly involving, musically, and my comments got through to a magazine editor who asked me to write about them.  This subjective approach to matching products together to make systems that worked musically might seem normal now but was ground-breaking at the time.  And readers and customers responded to it positively, of course, and it shook up the whole way of selling as well as reviewing hi-fi.

What made you start up Heybrook? How long did you run Heybrook for? BTW the HB1 and the HBS1 stands were one of my first signigicant upgrades.

I was managing a hi-fi shop in Plymouth when Stuart Mee walked in and asked me if I had any speakers better than his Celestion Ditton 15s.  Actually the usual small speaker I was recommending was the Videotone Minimax and, good though it was, it didn’t win over the Celestions.  So, we entered into a discussion about why there weren’t any really good bookshelf speakers under £200.  Based on my kit speaker experience, and knowledge gained from a Gilbert Briggs Loudspeaker book, we thought we would have a go at designing something that satisfied both of us.  After about 18 months of experimenting, and a lot of discovery and learning about cabinets, drive units and crossovers, we had our first prototype.  It was so good that we realised it would sell really well, and that was the basis of the Heybrook HB2.

Heybrook really took off, in terms of turnover, with the HB1 speaker, the first of my designs to win three What Hi-Fi Awards in consecutive years.  My friend, Shane White, developed a prototype turntable which we refined and turned into the Heybrook TT2 and I worked with Tim de Paravicini on some amplifier designs.  Along the way I had a lot of fun designing speakers like the Sextet - altogether it was 15 years of extremely hard work and a lot of design exploration, learning and enjoyment.

After Heybrook, did you go into freelance speaker design and go back into reviewing? 

Eventually Heybrook grew to the point where I was spending more time in administration than design and development, so I made the decision to sell out.  That left me free to do speaker consultancy work with a sideline reviewing, as consultant editor, for Hi-Fi News magazine and I also expanded my fascination with computers and IT by writing for computer magazines.

What was your initial remit when you joined Mission? 

I’d done a lot of consultancy work with NXT (Mission’s flat speaker technology offshoot) so, when the speaker design engineer vacancy appeared at Mission, they asked me to come and work in Huntingdon. Mission were well known for popular, award winning affordable speakers and their customer base was completely in accord with what I loved doing which was making small speakers which sounded lively and musically inspiring.  I made some mods to their best selling range, which turned into the 77e series, and those immediately got universal 5 star reviews.  My first clean-sheet design, though, was the 780 which, like the HB1, won 3 consecutive years of What Hi-Fi Awards.  I’m still enjoying designing and making great sounding speakers for Mission today. 

You have been involved in reintroducing old models that have been brought up to date. (E.g Wharfedale Lintons, Mission 770 etc) Was this totally your idea? 

It started with an idea I had for an anniversary model for Wharfedale.  Looking back over 80 years of Wharfedale history, the best selling models were the Denton and Linton.  The original Industrial Design of these was so good that I felt it would still look great in people’s homes today, so we started with the Denton to see what people’s reaction would be.  It sold so well that I really wanted to bring the Linton up to date too.  The marketing people were worried that it would be too big to sell well but, actually, it has turned, once again, into Wharfedale’s best selling speaker.
As I’ve often pointed out, larger speaker cabinets with bigger bass units make the speaker designer’s task so much easier and do a better job of delivering full scale musical reproduction in the home. Clearly customers have reacted positively to this and it has resulted in other brands dusting off some of their vintage designs too!

What, in your opinion, makes the Mission 700 & 770 speakers so good? 

Well, the 770 is still a classic speaker.  If you are lucky enough to get hold of a pair of the original 770s today you’ll be surprised at how good they still sound. Sure, a reviewer would criticise the slightly unruly bass and some steeliness in the treble performance, but the midrange is magical.  I wanted so much to recreate that midrange performance but upgrade the bass and treble to match, as well as to suit modern recordings and digital sources, that I spent two and a half years developing and refining the new 770, building a total of 174 prototypes until I was happy.Both the original 770, and the very first 700 design, featured that magical midrange which captured your attention and made you want to play record after record late into the night.  I’ve just read a neuroscience analysis of music which explains that the first thing we latch on to, as toddlers, is rhythm.  What these speakers do is present musical rhythm, as well as natural instrumental and vocal detail, in a really infectious way.  I’ve got the new 700s in my lounge at home and I love seeing people’s reaction when I play some music to them.  There’s a sort of instant feeling of musical satisfaction that brings a smile to their faces and gets their toes tapping and bodies moving.  Isn’t that what hi-fi should be all about?

Some 20 plus years ago, you released a high end Mission speaker called the Pilastro (which was absolutely superb). What are thoughts on that speaker now? Would you want to bring out a newer version to the market? 

Funnily enough a German reviewer came up to me at the recent Munich show and told me Pilastro was still his favourite speaker.  I’ve also made friends with a guy in Norfolk who has collected three pairs, he loves them so much.  It’s a great speaker that probably works better today than it did when it was first launched simply because amplifiers and recordings and sources are now so much better they show what the Pilastro can do.  It was an expensive speaker at the time and it would venture into the ultra high-end to recreate a new version now and I’m not sure Mission has the distribution clout to handle that, but it would sure be fun to try.

Pilastro is one of the very best speakers I've ever heard. Without a shadow of a doubt. Do you prefer to work on High end speakers designs or more real world priced designs? 

It may seem odd but I just love designing speakers that people can afford.  To know that tens of thousands of people world-wide are using my speaker designs to enjoy music to its utmost in their homes is very gratifying.  Sure, it’s lovely to have the budget and resources to push the boundaries of speaker design with higher-end products, but I’m not in accord with the ultra high-end where you might end up making 100 pairs a year if you’re lucky.  Wharfedale Elysian was a lot of fun to design and is probably my most expensive, popular speaker but we will still sell upwards of a thousand pairs.

What is the most important thing for you when you design a speaker?

Getting the music across to the listener in a totally engaging way, first and foremost, as well as helping you believe that you are listening to real musicians.  To do that you have to make sure the rhythmic structure is presented intact and that the tonal balance is natural and that you can hear through the speakers to the musical performance.  To do that you have to make sure that the fundamentals and overtones of instruments and vocals are in balance, which is more tricky than you might think.  Although I use measurements and computer prediction and analysis in the early stages, the real work comes from hours and hours of listening, tinkering and fine tuning.  During this period I’m making adjustments that are difficult to measure but are clearly audible.I also think that speakers should be a relatively easy load for the amplifier.  I’ve no idea what amps people are going to use with my speakers, so I avoid demanding loads which have ridiculously low impedances or violent swings between capacitance and inductance as you sweep through the frequency bandwidth.

With the success of the recent Wharfedale & Mission speakers, are there any plans for other revised versions of classic models? 

Why not?  There are some great favourites from the past which I’d love to bring up to date.

What are your all-time favourite pieces of hifi? (Speakers & other items) 

I would class all-time favourites as the ones that I continue to enjoy, so QUAD Electrostatics are still on that list and every time I’ve heard the top-of-the-range MBL Radialstrahle 101 system I’m in awe of the way it immerses you in the musical experience.  For turntables I’m still a fan of the Garrard 401 (in a slate plinth) but recently found that the new Thorens DD version of the TD124 can produce much the same performance.  For modern amplifiers I’ve recently been using the Audiolab 9000A a lot and can’t fault it and for a source I’m a big fan of using Qobuz via Roon through my MacBook Pro though the Lumin U2 is on my shopping list.  My favourite amplifiers tend to be valve based and I still have a fondness for the Radford STA25.

Having made a great sounding turntable (Heybrook TT2), have you ever considered revising that for today's market? 

Not really but if I did I’d probably make it Direct Drive!

Do you think HiFi has got better, over the last 40 years? 

Definitely.  It’s hard to quantify when you look back and try and remember what music in the home was like 40 years ago because a good system was as enjoyable back then as it is now.  But when you actually take some of the equipment that I loved back in the late ‘70s and early ‘80s and put it up against what is being designed now, it’s obvious how well-designed modern equipment just makes music sound more real.  With a careful setup of even a moderately priced system it is possible to make the hi-fi disappear so that all you’re aware of is the musicians in the room.  That was much more difficult to achieve 40 years ago.

When you were with Heybrook, you tried to make active speakers popular. What are you thoughts on active speakers today? Why do you think they are not as popular in the HiFi market? 

The Hi-Fi market is often quite conservative in its likes and dislikes.  Whilst the rest of the market is gobbling up networked smart speakers, Hi-Fi buyers still seem to prefer the three unit system of source, amplifier and passive speakers. I’ve no objection to this as I feel that passive crossovers are more easy to mould to the requirements of real world drive units. For active speakers the drive units really need to be as perfect as you can make them, because it is more difficult to tailor the electronic circuits to achieve the acoustic crossover slopes that you need.  As DSP, so-called Class D amplifiers and drive units get better I can see a future where active speakers really will start sounding superior plus, of course, you can build all the required networking into them.

However, the market uptake is going to be slow.  In one way you’re depriving the customer of choosing what type of amplifier they want to use - designing an active speaker crossover and amplifier using valves, for example, would be wasteful of resources and energy consumption. I think it’s best to consider a system approach where everything is properly matched and simple to network and is easy to use.  But then you’re depriving the customer of choice - putting together a traditional system is quite a lot of fun for the audiophile.

Do you think you will revisit active speakers in the future? 

I have already started.  Mission LX Connect was fun to design and provides a plug-and-play, hi-fi quality, true wireless stereo system at a moderate price.  But, in a way, it’s perhaps too close to the smart speaker end of the market.  Maybe something more sophisticated in performance at a higher price would sell better?  I’m often broaching this subject with the marketing department.


Loudspeaker technology seems very well established. It has been refined but perhaps not “shaken up”, what can you see happening in domestic loudspeaker design in the future?


Again, I think we’re battling against what is a traditional market when we try and introduce new concepts. People get all excited about new technologies but the fact is that they take many years to mature before we begin to see/hear the true benefits.  We’re still making better and better moving coil drive units through our understanding of the causes of resonance, coloration and distortion.  And we’ve found out how to refine and improve tried and tested technologies like ribbon and AMT treble units. I think that process will continue for some time.What I’ve always tried to do is to make speakers that work well in a variety of homes.  Most audiophiles, reviewers and hi-fi retailers think that speakers sound best spaced well away from walls and corners whereas, when I see the pictures that a lot of customers post on social media, speakers are often pushed back against the wall or into corners.  I’ve done it before and would like to do it again and that is to design speakers that you can integrate into walls or corners.  That’s not a new idea, Gilbert Briggs and Peter Walker advocated corner speakers in the mono days and Roy Allison did a lot of designs that worked against walls.  It might not suit the die-hard audiophile but I do think it is one way forward to achieving a more predictable performance in the listener’s home environment.

What new developments are you working on? 

I’m always trying to make things better by simplifying them.  For example we’ve come to think that cabinets need to be heavily braced in order to make them inert.  But the fact is that you can’t really make a wood cabinet totally inert, you’re just shifting panel resonances around. We could make mineral loaded resin cabinets like Pilastro, but veneered wood has a lot of appeal when you consider that speakers are viewed as items of furniture in the home.  Now that we have the technology to analyse cabinet behaviour we’re exploring superior methods of controlling cabinet resonance so that it doesn’t affect the musicality of the speaker.  This understanding of which resonances and distortions interfere with the music and which ones don’t can also be applied to everything from drive units to amplifier circuits.  It’s all part of the continuous development of making systems sound uncannily real and thoroughly enjoyable.

Peter ComeauDirector of Acoustic DesignIAG Group Ltd

Thank you Peter for your excellence in loudspeaker design and for taking the time to discuss your career with us.


DSC02429

Streaming made simple(r)

One of our customers suggested we do a guide to digital replay.

“For me digital music is where it gets really hard …., Routers, transports, DACs, servers, NAS, Roon, Rock, NUC ……. It’s been a slog to interpret all of this over the last few years and I’m certainly not claiming to be an expert now.. but I do think there must be a market for a “dummies guide” to digital replay”

Streaming is simpler than it appears. Many people who are confused by it already use Netflix, BBC i-Player or Amazon Prime, which is streaming only with video rather than music.

So with that in mind; here we attempt to debug it, take the jargon out of it and hopefully (you’ll be the judge) simplify it.

What is it?

Audio streaming is a way of listening to music in real-time over the internet. Instead of downloading the entire audio file and then playing it, you can start listening almost immediately as the audio data is sent to your device (we’ll refer to it as a Streamer or Network audio player)  in small pieces, or "streams." It's a bit like watching a video online – you don't have to wait for the whole thing to download before you can start watching; it plays as it's being sent to your screen.

So, with audio streaming, you can enjoy music, podcasts, radio stations, or any other audio content without needing to store the entire file on your device. It's a convenient way to listen to your favourite sounds without taking up a lot of space or waiting for a full download. It also opens up almost the entire
world of music to you for a relatively small monthly subscription. You can find almost any track or album - there are exceptions but they are now few are far between.



Streaming is also listening to music stored on your network, computer or memory storage device. Streaming is also listening to internet radio in the same manner.

Is it any good?
Yes it can actually be very good indeed. In fact a very good streamer will hold it's own against an extremely good (high end) record player. Even an affordable streamer presents an extremely capable source and this only gets better with higher performance units.

Music is stored in digital files. You access those files from your network, storage or online. They are reproduced extremely accurately but they are only ever as good as the files themselves. Some can be compressed to MP3 files whilst others are totally uncompressed and sound as good as a CD (16 bit). Hi-Res files are 24 bit and above and can sound even better still. High resolution provides the very best of performances and allows you to hear everything the artist intended. On a well produced recording, Hi-Res presents the pinnacle of the digital medium and this is really something you should hear for yourself.

However it is also worth bearing in mind that the better streaming services have content in at least CD format or better, whereas only about 10-20% of music is hi-res. If you're looking for just hi-res then Qobuz is probably your best choice.

You can also stream from your own stored music library. Or indeed a combination of both. I’ll cover each of these in a little more detail.

Subscription services

You sign up to a music provider. There are many to choose from but the two best are Tidal and Qobuz. We say this because we feel with both of these you get a well designed platform, a wide choice of music to select and a very high standard of file. That is to say the very lowest quality of file you'll get is CD standard or 16 bit. And you'll also get a wide range of higher resolution files to explore.

You pay a monthly fee and enjoy access to a massive library of music delivered to you by your internet. It's like borrowing songs from an immense music library. You pick a song or an album you want to hear, and it plays instantly through your streamer and also through (for example) your mobile phone. You don't have to download the songs or own them. You just listen to them as they come streaming to you over the internet. It's like having access to a vast music library without having to store all the songs on your device. The cost of this varies but is usually between £10 and £30 per month.

In order to do this you need a Streamer, an amplifier, a pair of speakers and access to the internet.

Your Streamer connects to your network either wired or wirelessly. You sign up to a streaming service, create an account and use these details to log in via your streamer. You only need to do this once. The Streamer will then remember your details and provide you access whenever you want it and for as long as you wish.

An ethernet cable connects your router to your Streamer. If this is not possible it can usually be done wirelessly if you have a good wireless signal. Some players do not work wirelessly but we can help and advise here.

You browse your music library and control your Streamer with a mobile phone or tablet. This gives two way communication and allows you to enjoy music in a similar way than you might watch Netflix or Amazon Prime. Think of that device as a posh remote control with far better visuals. How this works is that each product is a network enabled device. So they can talk to each other in real time.

Streaming services are also very good at introducing you to new music. It will suggest music you might like based on your choices of song or genre. It may suggest a song, an artist or even a playlist of similar music. A playlist is a list of songs created by someone else and shared. You can also create your own playlists.

Don't be intimidated by all of this. It is simple in practice and like anything; once you've experienced it for yourself you'll quickly use it with comfort.

Many subscription services off free or reduced price trials. It's a good way to determine if that service is good for you.

NB. Some people use a computer of some description to stream. A laptop will suffice, an old tower or even a NUC (a very simple form of computer with enough power to perform this task with ease). Streaming this way interests some people, particularly those who are computer savvy. It is capable of good results but does rely on some technical knowledge to build and configure. It can suit the less techie poorly and I’m not going to go in depth into streaming via a computer as this will be covered better elsewhere.

Building your own library

This isn’t a difficult thing to do but it can be tiresome as it usually involves a computer and some software. I’ve known customers spend a lot of time building a library from their own CD’s only to then subscribe to Qobuz and discover that they wish they hadn’t bothered. I did this myself and then wondered why. Other people like the idea of accessing their CD's without having to load them into a CD player. For those people ripping is the answer. It sounds terrible but like anything else it isn't and with the right software and a little help you're on your way.

How to rip your own CD’s

To do this you use a computer with a CD drive. We use some software called DB power amp. It’s not expensive but it is bit-perfect ripping software. Ripping means extracting the data from your CD, verifying it and saving it. DB power amp works by comparing the data on your CD with a number of online databases. It compares the information it rips with this to ensure it has captured all the data. What you wind up with is a perfect copy. This is then stored to a destination of your choice. It can be stored as either FLAC or WAV files and both of these are bit-perfect.

Some products have inbuilt storage. Those that don't leave you a choice of two storage solution;

USB memory device
USB sticks or drives will plug directly into the back of most streamers. They can store plenty of music and are ideal for small or medium sized music collections. There are no limitations on quality but Hi-Res takes up more room than 16 bit CD rips. The USB will also only provide music to the device it is connected to and this is not so good if you have more than one streamer or indeed more than one listener.

NAS drive.
NAS means network attached storage. This plugs into your router and is then available to be enjoyed anywhere in the house. It is also the best way of storing music if you stream to multiple devices in different rooms in the house.

You can also download music into your library from online suppliers. You can choose MP3 (avoid) FLAC 16bit (CD quality) or HI-RES files.

In our opinion NAS drives and there use required quite a lot of technical knowledge and experience. We can help with this but it can be a fraught process and should only be tackled if you're comfortable with such technology.

Ripping is somewhat time consuming. And it can be a nuisance if you have thousands of CD’s. However what you wind up with is a stored library of all your music accessible by artist, album, song or genre.

You can also buy Streamers with built in ripping and storage software. These are called servers. They will take the fuss out of building a music library but will also be more expensive to purchase. They will rip, store and catalogue all your music and the only requirement from you is to load in the CD’s. Some rip and store on internal drives and others point towards external or NAS drives..

Router

An ordinary router is all you need to stream music at home. You don’t need anything special and the standard one provided by your internet provider will do the job perfectly well. Streaming audio isn’t as demanding as video so if you use Netflix, BBC i-Player or the like then you’ll have no issues streaming audio. Many people assume they'll need an expensive or high performance unit but this isn't true.

Not do you need exotic and expensive ethernet cables. Cat-5 or 6 ethernet cable is all you require.

Choosing a Streamer

There are many different streaming products and some of that is for the reasons above. There are also differences in performance too; just as there are with CD players. I’ll go into some detail to explain those differences shortly.

Our streamers start at £150 and go up to £5000 plus. Most of them do exactly the same thing but with varying degrees of performance. All will access your music library (if you have one), subscription services, internet radio, access your iTunes and music stored on your phone. They will all also play most resolutions of quality from MP3 up to Hi-Res.

What makes for the huge differences in cost?

In a word performance or sound quality. Like anything in the world of audio performance is usually heavily influenced by budget. In a streamer you have two essential components; one is the streaming engine which retrieves the digital data and the other is the DAC or Digital to Analogue Converter. Both of these can be improved but doing so increases the cost.

Some Streamers are called streaming transports because they do not have a DAC built in and this allows you to choose your own.

However there is an all important factor here which is often overlooked and I want to talk about that first.

The App


The app is the thing that controls the streamer and enables you to access your music. Many otherwise excellent streamers fall down badly because the app sucks. Crashes, dropouts and failure to access your music when you want to means the experience is a bad one and that basically means you don’t use the product. Believe me when I say that no matter how good something sounds; if it doesn’t work its little more than a paperweight.

App development is critical and expensive. Naim (for example) spends more money on app development as they do on product development and it shows in the ease with which that app controls their products. They’re not unique in this and the same can be said for most of the leading players. In fact I’d also include Sonos whose app is far better than their products.

App development is also why there are relatively few players in the market and unlikely there will be too many more. It is simply too expensive for many companies to develop their own platform. Specialist hi-fi companies don’t have the huge budgets required to develop a streamer AND a World-class app. Some get round this by buying someone else's platform. Bluesound is a very good, stable platform and quite a few companies have adopted it as their own and added a little of their own technology within the constraints of the platform. Cyrus and NAD are examples of this. 

Apps are free downloads onto your device.

DAC technology


With all streaming, whether via the internet, or from your local files delivers a digital file to your
streamer you need a DAC to translate the digital signal to analogue - which can then be sent for amplification, and on to the speakers.

Most streamers have a DAC in them. This is the circuitry which converts the Digital stream into an analogue signal which your amplifier can then amplify. A better DAC can make substantial improvements to the performance of your streamer by making it more detailed and natural sounding. This is particularly important at the top end, producing more detail but without harshness or “brightness”. A digital signal emulates a musical sine wave but with blocks of data. These blocks can add harshness which is detrimental to music. A better DAC can handle this better by using clever technology in an attempt to produce a smoother and somewhat warmer sound. DAC development is expensive and the more capable a DAC is usually means it has had a lot of time and money spent on it and this will increase the price.

Technology might offer improvements but it is listening to them that will offer you the greatest insight. It is a simple thing to listen to and determine for yourself. Better streamers will have better DACS and they should offer clear improvements. If they don’t then of course they’re not worth the extra investment.

For those looking at improving a digital product they already have then it can make more sense to add an external and improved DAC. An additional DAC will benefit any digital products you might listen to from CD to the telly (fools lantern).

Almost all the above is relevant to CD players as well as streamers. Both retrieve digital information which needs converting to analogue.

Connectivity

A streamer will have the most if not all of the following connections;

  • A pair of RCA connectors to connect it to your amplifier
  • A digital and optical output to enable to take a digital feed from it to add to a DAC for example
  • A digital input (to enable you to connect a TV or similar)
  • An Ethernet input to connect it to your router
  • An HDMI Arc connection to enable you to connect a TV
  • Most likely a wireless network connection aerial.


You can connect these units into an amplifier, an existing stereo unit and even a pair of active speakers (speakers with amplifiers built in).

Once you’ve grasped the principles behind streaming it’s worth having a listen. Our demo rooms are at your disposal. We firmly believe that listening to something is the only way to discover how good something is. Listening and perhaps comparing it with other units to determine how good it is and how much you want to spend to match the rest of your system. Listening (and even a home trial) is critical in this. It’ll help you find the best match to your system and budget.

Many people dip their toe in the water by trying an affordable streamer, even though it might not be up to the standard of their turntable for example. Vinyl is getting expensive so a lot of our customers use a streamer to discover new music which they may then choose to buy on vinyl. Often those same customers are surprised at how capable a humble player can sound.

Here are our three most affordable streamers, all with internal DACS; making them plug and play into an existing stereo.

WiiM Pro £149
Bluesound Node £549
Innuos Pulse Mini £899

They all do the same thing but with varying levels of performance. We'd be glad to demonstrate them for you at any time. They all offer exceptional value for money in their own different ways. We certainly have streamers above these in terms of performance but I wanted to concentrate here on the principles rather than any specific products.

I hope this has offered some enlightenment. If there’s anything I haven’t covered in sufficient detail or depth then please let me know.

Finally here is a glossary of terms you might also useful when exploring streaming

Roon (Roon ready etc)

Roon is a music management and playback software designed for audiophiles and music enthusiasts. It provides a high-quality, feature-rich experience for organising, streaming, and playing music from various sources. Roon is known for its user-friendly interface, extensive metadata capabilities, and support for high-resolution audio.

Key features of Roon include:

  • Music Library Management: Roon helps you organise and manage your music collection, whether it's stored on your local hard drive, networked storage, or streaming services. It can automatically identify and tag your music files with rich metadata, including artist information, album artwork, lyrics, and more.
  • Streaming Integration: Roon can integrate with popular streaming services like TIDAL and Qobuz, allowing you to access a vast library of music directly within the Roon interface.
  • Multi-Room Audio: Roon supports multi-room audio setups, allowing you to synchronise and control playback across different audio devices in your home. This is especially useful for whole-home audio systems.
  • High-Resolution Audio: Roon supports playback of high-resolution audio formats, making it a popular choice among audiophiles who want to enjoy their music in the best possible quality.
  • Rich Music Discovery: Roon offers personalised music recommendations, artist information, album reviews, and links to related content, helping you discover new music and explore the stories behind your favourite artists.
  • Integration with Hardware: Roon can be used with a wide range of hardware devices, including networked audio players, DACs (Digital-to-Analog Converters), and audio streaming systems. Many manufacturers offer Roon Ready devices that seamlessly integrate with the Roon software.
  • User Interface: Roon is known for its visually appealing and intuitive user interface, making it easy to navigate your music collection, playlists, and settings.

It's important to note that Roon typically requires a subscription, and it works in conjunction with a Roon Core software installed on a compatible computer or server. The Roon Core manages your music library and communicates with Roon Ready devices for audio playback.

Roon has gained a following among audiophiles and music enthusiasts who value both the audio quality and the comprehensive music management features it provides.


UPnP

UPnP stands for Universal Plug and Play. It is a set of networking protocols that allows devices and appliances to discover, communicate, and interact with each other over a local network, such as a home network. The UPnP protocol simplifies the process of setting up and configuring devices in a networked environment by enabling automatic device discovery and interaction.

If you’d like anything else explaining or adding please leave a message here or get in touch and I’ll do my best to answer.

Thanks for reading.





H600Front

Hegel announce H590 replacement



In many respects the H590 defined the "reference" one box approach. Superb amplifier, inbuilt streamer and DAC with enough power to drive just about any loudspeaker. It won many fans including us and that's why we were curious to see what would replace it.

The H600 launches in late September 2023 with a retail price of £10,500. Here's what Hegel have to say about it.

H600 is our reference integrated amplifier. With its 303 watts in 8 ohms, a damping factor of 4000, and 2 ohms drive capability, this powerhouse of an amplifier can drive any speaker with confidence and ease. The amplifier is a dual mono design, bringing it as close as possible to the performance of two mono amps in a single box. It also boasts a state-of-the-art preamplifier with the extremely precise volume attenuator found in our reference P30A amplifier. All electronic circuitry is designed in-house, and we only use the best-quality components. This gives us unprecedented control over the amplification process. When we combine this with our SoundEngine2 correction technology, we are left with an audio signal that is as close to the original recording as possible. The result is an immensely wide and deep soundstage with incredible dynamic range and tremendous bass control. This amplifier reveals all the details and nuances in the music. All you have to do is connect a pair of really good speakers of your choice.

The H600's D/A Converter is a bit-perfect design, offering pure audio fidelity without any resampling or upsampling. The DAC has a large, dedicated power supply that ensures uncontaminated and stable performance, and it is shielded by a thick steel plate so there is no interference from other electronics inside the amplifier. The result is a cutting-edge D/A converter with incredible resolution and smoothness. The chassis is made of aluminium for better audio performance. It includes a solid bottom chassis and top cover with vents milled in two layers for added rigidity and airflow. Big aluminium feet with an anti-scratch design ensure excellent stability and reduced vibrations, while high-quality RCA connectors and optimized positioning of the analog and digital connectors provide less noise and better channel separation. The large control knobs are equipped with touch control, making this amplifier effortless and intuitive to operate. They also have a very nice tactile feel, making every adjustment a delight.

Hegel H600

At Hegel, we believe that great audio should not come at the expense of ease of use. That is why the H600 features a comprehensive list of streaming options. It supports UPnP streaming, Spotify Connect (pending), Airplay 2, Tidal Connect, and Roon Ready (pending). This is however only the beginning. This highly advanced streaming engine will ensure the amplifier is always up to date with the latest options for you to stream your music. The H600 is also highly customizable to ensure it suits any environment. All digital inputs except USB have signal sense. This means that any device connected to these inputs can wake the amplifier and set it to the right input. In addition, the volume can be limited so that it suits your max volume preference. With our remote-control feature, you can program the amplifier to be commanded by common TV remotes, eliminating the need for using two remotes and making it easier for all members of the household to get great TV sound. Most inputs can also be set as a fixed high-level Home Theater input, making it easy to combine the H600 with surround receivers or multi-room devices. As with streaming, more features will be available in the future. These firmware updates are of course always free, and the amplifier will install them automatically when they are launched, ensuring your H600 is always up to date.

Hegel H600

The amplifier boasts a large array of analog and digital connections to accommodate various audio sources. There are two pairs of True Balanced XLR inputs and two pairs of RCA inputs. On the digital front, it features a LAN network port, an USB 32/384 input (supporting DSD256/DoP), three optical inputs, a coaxial input, and a BNC true 75-ohm input. For analog outputs, it offers a pair of RCA fixed-level outputs and a pair of RCA variable-level outputs. Additionally, it provides a BNC fixed-level true 75-ohm digital output. The H600 is an extremely capable and great-sounding amplifier. It is highly versatile and delivers high-end sound and ease of use, all in a high-quality and minimalistic housing that fits any interior style. The H600 is a hub for your digital music, a home for all your connected sources, with a sound suitable for mansions. H600 is a powerhouse.

Technical Specifications

Power output: 2 x 303W in 8 ohms, Dual Mono
Minimum load: 2 ohms
Analog inputs: 2 x Balanced (XLR), 2 x Unbalanced (RCA)
Digital outputs: 1 x Coaxial (BNC) S/PDIF - 24/192
Digital inputs: 1 x Coaxial (BNC) S/PDIF - 24/192, DSD64 (DoP), MQA 8x, 1 x Coaxial (RCA) S/PDIF - 24/192, DSD64 (DoP), MQA 8x, 3 x Optical S/PDIF - 24/96, MQA 8x, 1 x USB -32/384, DSD256 (DoP), MQA 8x, 1 x Network - 24/192, DSD64, MQA 8x
Line level outputs: 1 x Unbalanced fixed (RCA), 1 x Unbalanced variable (RCA)
Streaming: AirPlay 2, Roon Ready (pending), Tidal Connect, UPnP
Streaming formats: MP3, WAV, FLAC, ALAC, AIFF, DSF, DFF, AAC, PCM, MQA, Ogg
Frequency response: 5Hz-100kHz
Signal-to-noise ratio: More than 100dB
Crosstalk: Less than -100dB
Distortion: Less than 0.005% @ 50W 8 Ohms 1kHz
Intermodulation: Less than 0.01% (19kHz + 20kHz)
Damping factor: More than 4000 (main power output stage)
Dimensions/weight: 17,1cm x 43cm x 44,5cm (HxWxD), 22kg
Dimensions/weight US: 6,74" x 16,93" x 17,52" (HxWxD), 48,51 lbs






keep_it_simple_aug_21_2018

Keeping things simple

I recently asked some customers on our facebook group what they’d like to see from us and one customer's question was so simple and on the nail that it stopped me in my tracks.

“A basic breakdown of kit - what the various parts do and when you need them. Things like Amp, Dac, Phono Stage. A bit of a newbie guide. I see loads of posts here but don't know or understand what some of the things do or whether I should consider them for my system”

So I’ll attempt to tackle all of that here and I’ll try to keep it short and sweet.

Here is a list of all the kit you might need to listen to music and a brief description of what they do.


Source components


Record player/turntable



Rotates vinyl and recovers music from it. Still one of the best ways of listening to music and quite complex if you really want to dig down and understand it. But in its simplest form a record player plays records.

Radio/Tuner

Received radio signals. There are three types; FM, DAB (digital audio broadcasts) and internet radio. All offer good performance.


CD player

Plays CD’s.


Streamer/Network music player.


Plays digital files. These are on the internet and the Streamer is connected to your internet either wired or wirelessly. You can buy and download these and store them locally on a hard drive. Or you can use subscription services like Spotify, Tidal, Qobuz and others to listen to their content. All this can be done at very high quality. Streamers also allow you to connect music stored on your mobile phone and also give you access to internet radio.

DAC - Digital to Analogue Converter

DACS are built into most digital products. The reason for this is digital products are digital whilst amplifiers are mostly analogue. A DAC will convert the digital signal to an analogue one which an amplifier can understand and make louder. Digital to Analogue converters are available to suit all budgets. If you have any digital product and you wish to improve the sound then a DAC can sometimes be the most sensible way of doing it. 

Phono Stage

This is only for people who want to play records. These can be required because turntables have a very low output. Actually it is less than a tenth of a CD player. So an additional unit is required to step it up or make it louder. Some amplifiers have these built in. Some don’t. Hence the requirement in some but not all instances.

Amplifier

Amplifiers are needed to make the small signal recovered from the source component louder in order to pass the signal to loudspeakers and give you control over the volume. 

There are three types of amplifier. Integrated amps are the most popular and the most affordable. An amplifier is made up of two parts. The first is the pre-amp which deals with the signals coming in from the sources. The second is the power-amp which generates watts to power the loudspeakers. An integrated amp has both parts in one box and is “integrated”.

When higher performance is needed then these two parts can be isolated and put in their own enclosures. This generally offers better performance but increased cost.

Loudspeakers

Speakers come in all shapes and sizes and all prices. From very small to quite large. Larger speakers are generally better for reproducing bass. But there are exceptions because not everyone has a large room or wants a large speaker.

Speakers reproduce the sound but are actually not the most important component in the system. In terms of importance we find the source is the most important, amplification next and loudspeakers last. This sort of sounds counterintuitive but the speaker can only reproduce the quality it is given. So very high quality speakers can only do a good job if they’re given a superb signal. 

All-in-one systems

These are systems where as much as possible is built into one box. This has advantages and disadvantages and sometimes these are worth looking into before deciding which items you decide to purchase.

You do not need all of the above. Just the source component that suits how you enjoy music, an amplifier and speakers.

We’re aware that this is complicated and it is our job to help guide you through this mire of information. We have listening rooms where you can listen to equipment that suits your budget, the size of your room and your requirements. Our 41 years in business will help guide you to getting something that will transform your enjoyment of music.

Please ask any questions you might have at the bottom of this page or get in touch with us however you prefer for some clarification, advice or help.


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