MHA100 - HiFiClube

WWW.HIFICRITIC.COM ISSN 1759-7919
HIFICRITIC
AUDIO REVIEW MAGAZINE
£17 Vol9/No2 JUL - SEPT 2015
CABINET RESPONSIBILITY
Keith Howard looks at the thorny question
of loudspeaker cabinets, and investigates
some interesting new Dutch software
ARCAM A49
Chris Bryant is very impressed by the sound
quality of Arcam’s new ‘Class G’ integrated
amplifier
NAIM STATEMENT ENCORE
Ten weeks on and Naim’s remarkable
Statement amplification continues to
improve, as Martin Colloms explains
THREE BLOGS
Everard, Kennedy and Rigby summarise
their recent web-blogs on a very diverse
collection of components
MEETING THE SONDUCTOR
Ole Lund Christiansen discusses the
techniques he uses when designing a
purpose-built listening room
PART METAL JACKET
Newcomer MBA’s loudspeakers use
metal enclosures to very good effect,
as Paul Messenger discovers
MUSIC & MORE
REVIEWED THIS ISSUE
Arcam A49
Linn Klimax Solo
Linn Klimax DSM
MBA Progression
MBA Pulse
Naim Statement
Spendor A5R
HIFIMAN HE400S
HIFIMAN HE1000
McIntosh MHA100
Goodmans Triaxiom 212c
Existence Euphoric
HIFICRITIC JUL | AUG | SEPT 2015
1
HIFICRITIC
Vol9 | No3
Jul | Aug | Sept 2015
I
’d like to ask readers to spare a thought for Malcolm Steward, a regular
contributor to these pages and the dear husband of our makeup artist and
designer Philippa, who suffered a very serious road accident back in July.
Malcolm is still in intensive care, and the prognosis at the time of writing
remains uncertain.
Editor | Paul Messenger
Writers
Colin Anderson
Chris Bryant
Martin Colloms
Stan Curtis
Greg Drygala
Andrew Everard
Nigel Finn
Chris Frankland
Steve Harris
Jose Victor Henriques
Keith Howard
Jason Kennedy
Paul Messenger
Paul Rigby
Publisher | Martin Colloms
Design | Philippa Steward
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2
HIFICRITIC wants some feedback from readers, on the sort of content that would be
most valued. I’ll continue to try and include worthwhile features to counterbalance
the inevitable hardware reviews, but am particularly interested in finding out whether
readers want to read more about analogue or digital sources, and if digital whether it’s
about DACs, servers, downloading or streaming services.
The hi-fi world has become fragmented, and the dividing line seems to be related to
the prime music source being used. That in turn seems to vary according to the age of
the individual reader and customer. Those born before the mid-1960s will probably
have accumulated a fair amount of vinyl before CD became the dominant carrier in
the late-1980s. (It might have started in 1983, but took some years to get going.)
Barely a decade later, file-sharing began to erode the primacy of CD as the most
universal music storage medium, even though the widespread use of MP3-coded
material was well short of hi-fi (or for that matter CD) quality. However, MP3 filesharing helped home computers get their foot in the music door, which has had
huge implications. The continuing development of both computers and the internet
constantly increases the range of possibilities.
But this constant change can also be a problem, albeit one that seems to be a
characteristic of a 21st century, where nothing has to be right first time, as it can
always be fixed by a subsequent update. Although Paul Rigby’s piece on page 48 did
give me pause for thought, it’s undeniable that a vinyl disc made more than 50 years
ago is still playable today. One reason why the guys who invented vinyl got it right
first time (apart from the mono-to-stereo change) was maybe because they didn’t have
the option to go back and change it later. In contrast, digital media in general seems
to be in a constant state of flux today, always changing from one day to the next via
further software upgrades.
This ability to download updates from the internet may perhaps bring improvements,
but the negatives are no less valid. Indeed, a neighbour who works at the very sharp
end of computer technologies recently told me that he never installs updates on his
computer because they simply slow it down and clog it up. (This view is not generally
accepted due to the need for up to date virus protection.)
Furthermore, despite the considerable growth of new digital prospects and techniques,
the last few years have also seen a significant revival in enthusiasm for analogue vinyl
for music storage and replay. The reasons are numerous and various, but among the
more significant observations are that the customers for new vinyl replay equipment are
not merely ‘old fogeys’ resuscitating their record collections, but cover a wide range of
ages. Whether analogue vinyl simply sounds more natural and musical than digitally
processed material will doubtless remain a bone of contention for the foreseeable future.
Paul Messenger
Editor
HIFICRITIC JUL | AUG | SEPT 2015
Contents
4
STAN’S SAFARI No31
42
Stan puts together a ‘bucket list’ for his
ultimate loudspeaker
6
PART METAL JACKET
These planar headphones from China set a
very high standard indeed
44
Newcomers MBA adopts a modular
approach to its metal-cabinet loudspeakers
8
MCINTOSH MHA100
CABINET RESPONSIBILITY
Keith Howard investigates loudspeaker
enclosures, and tries some new Dutch
software for analysing problems
15
TRIAXIOM REVISITED
46
SPENDOR A5R
48
EXISTENCE EUPHORIC
50
NAIM STATEMENT ENCORE
Ten weeks after switch-on, Naim’s Statement
amplifier continues to improve
28
THE ENGINEERING BOYS
Arcam’s John Dawson talks to Chris
Frankland
31
VERTEX AQ ALETHEIA DAC-1.5
REVISITED
51
LINN KLIMAX DSM & SOLO
52
MEET THE SONDUCTOR
Steve Harris meets listening room specialist
Ole Lund Christiansen
41
HIFIMAN HE400S
BITS & PIECES
Arcam’s irDAC can handle numerous digital
sources, and Sonority Design’s unique
isolation platforms
53
NAIM’S SOFTWARE UPDATE
Naim has updated its streamer software, but
has this also upgraded the sound?
54
JAZZ PICKS
Greg Drygala’s Jazz reviews tend to focus
mainly on the ACT Music label this time
56
Existence Euphoric: page 20
THE BEST OF CLASSICAL
Colin Anderson picks a new selection of
recent classical recordings
58
Jason Kennedy tries out Linn’s top-of-theline Klimax DSM and Solo components
36
MBA adopts a modular approach
on page 6
A planar headphone that really delivers the
goods, and at a budget price to boot
Changing a capacitor has substantially
improved this DAC
32
JASON’S WEB-BLOG
JK discusses the Czech Remton phono stage,
and Ken Ishiwata’s Eindhoven listening
room.
This Finnish speaker combines dreamy
woodwork with a single full-range driver
22
A MONO OBSESSION
Paul Rigby – aka The Audiophile Man – gets
serious over mono LP playback and tip sizes
Martin Colloms tries out a compact sealedbox floorstander
20
WORDS & MUSIC
Andrew Everard muses on copyright issues,
Astell & Kern’s AK Jr, and a Gramofon
Paul Messenger wall-mounts a fifty year old
12-incher
16
ARCAM A49
Chris Bryant is very impressed by Arcam’s
new Class G integrated amplifier
Can a headphone amplifier really be worth
£5,000? Jose Victor Henriques bought his!
10
HIFIMAN HE1000
ROCK, POP & OTHER NICE MUSIC
Nigel Finn from the Chord Company
reviews six recent rock and folk releases
60
SUBJECTIVE SOUNDS
The significant role played by loudspeaker
enclosures looms large in this HIFICRITIC
MIYAJIMA MADAKE
Paul Messenger is seduced by a Japanese
cartridge with a bamboo cantilever
HIFICRITIC JUL | AUG | SEPT 2015
Arcam’s John Dawson talks to Chris
Frankland on page 28
3
■ REVIEW
McIntosh MHA100
IS THE ALL-AMERICAN MCINTOSH MHA100 HEADPHONE AMPLIFIER THE 26.5LB ELEPHANT IN
THE CHINAWARE SHOP? CAN IT REALLY BE WORTH £4955? JOSÉ VICTOR HENRIQUES REPORTS.
T
he MHA100 is McIntosh’s first headphone
amplifier. It’s ‘Proudly made in USA’, at
the factory in Binghamton, near New York,
where McIntosh has designed and built all of its
electronics in-house, since 1949. I visited the factory
some 25 years ago and remember well how proud
they were to show me the nursery where all those
blue eyed babies are born and their autoformers
take their beauty bath in the hot tar tub. One of the
USA’s most iconic brands, McIntosh is now part of
the Fine Sounds Group, along with Sonus Faber,
Audio Research and Wadia.
The fascia is classic McIntosh with the dark
glass plate decorated by bright and conspicuous
blue VU meters. The logo and panel letterings
are illuminated by fibre optics and an OLED
display shows volume, input selection, digital
signal resolution and programmable functions.
Remote control is provided, but hands-on volume
and other control adjustments are made by large
multi-task rotary/pull buttons. A small red toggle
switch applies power, although the unit also switches
off automatically after a few minutes of idle. A
smooth volume control with a digitally controlled
attenuator has 0.5dB steps.
The analogue section has single-ended and
balanced inputs and outputs, and the heavy duty
gold-plated loudspeaker terminals are fed from
a 50W/channel stereo amplifier. McIntosh’s
8
Power Guard and Sentry Monitor technologies
ensure protection against clipping or mismatched
headphones and speakers. A Headphone Crossfeed
Director (HXD) feature helps headphones to image
more like conventional speaker stereo, and a five-step
bass boost control (in 2.5dB steps from 0 to 12.5dB)
gives further flexibility. Four digital inputs (USB 2.0
asynchronous, AES/EBU, co-ax, and optical) allow
the McIntosh digital engine to upsample and decode
digital music at up to 32-bit resolution and 192kHz
sample rate.
This adorable ‘mini-MC302’ shares the unique
looks and venerated voice of its bigger brothers, and
is also a stereo pre-amplifier with an internal DAC
and a 50W/ch amplifier. And the amplifier is not
just used for speaker listening. When listening to
headphones, it drives the output autoformer that
impedance-matches to various headphones. When
listening to speakers the autoformer is disconnected;
when listening to headphones, the speaker binding
posts are disconnected; but the same power amplifier
drives each mode. Thermal Trak output transistors
help it run cool at idle, the built-in bias diode
responding almost instantaneously to changes
in transistor temperature to avoid any lag in bias
adjustment.
I used the MHA100 as my reference amplifier to
test HIFIMAN’s fine HE1000 (see my review in this
issue). In a time when a few hundred quid can buy
a DSD/DXD compatible octo-speed portable DAC,
or a couple of thousand can be invested in a balanced
class A headphone amp like the Auralic Taurus, the
MHA100 might not even be the best you can buy for
this kind of money. (It doesn’t even have tubes in it
for god’s sake!)
So what does the MHA100 do that the others
don’t? In short, it allows any headphones to be
themselves. That impedance matching and the
almost limitless clean power available, supplies
high quality headphones drive without imposing
any character. Prior to reviewing the HIFIMAN
HE1000, I tried all kinds of headphones: planar,
electrostatics and dynamic, including the McIntosh
MHP1000, and even some top in-ear types.
Invariably they all sounded better with the MHA100
than with anything else I tried.
HIFICRITIC JUL | AUG | SEPT 2015
REVIEW ■
JOSÉ VICTOR
HENRIQUES
Sources got the same treatment. Chord Hugo and
iFi micro-iDSD were used as a sources for DXD and
DSD files, and were allowed wide scope to reveal
their innate differences. Hugo is the more ‘organic’,
fuller bodied, and really sounds great with DXD
384kHz files. The iFi micro-iDSD is drier with a
tighter, faster though less extended bass, and is also
compatible with native DSD256/512. And though
the internal DAC in the MHA100 is no slouch
up to 192kHz, the Hugo DAC/ MHA100 combo
sounded reassuring with still higher sampling rate
and resolution files and made me feel even more
comfortable.
With so many variables involved, it’s good to
know the MHA100 stands its ground as a reference
you can always count on, provided you engage
neither the bass ‘tone control’ nor the HXD crossfeed feature. Listen to your ‘blues’ straight. So
keeping in mind that the sound of any headphone
can only rise up to the level of the source and
amplification up stream, my listening impressions
follow below
Sound Quality
For this assessment, the MHA100 was used as a fully
fledged headphone amp and DAC. The HIFIMAN
HE1000 were my headphones of choice. I also tested
it as a pre-amplifier driving a pair of Focal active
loudspeakers, and then as a full amplifier driving a
pair of Sonus Faber Concertinos – which it did with
grace and aplomb.
In headphone mode it sounded transparent, did
not get in the way of the music, and can deliver 1W
of clean, articulate, transparent, dynamic yet sweet
power, here in high level headphone mode using the
150-600 ohm impedance. However, I would not
regard it as completely neutral. It has a ‘house sound’
that’s somehow reminiscent of the exquisite French
oak undertow of a great American Grand Cru red
burgundy.
To supply a few musical examples, soprano
Marianne Mellnäs’ pure and heavenly voice on
Proprius’ Cantate Domino remains a powerful test.
It was recorded to analogue tape in 1976, but our
version was a 24-bit 88.2kHz download from HD
Tracks. The choir, brass and organ test the recording
equipment to its limits, yet miraculously it never
sounds congested, opaque or harsh. To my surprise
I now discovered subtle shades of contralto in
Mellnäs’ voice, and found a tenor singing the part of
a countertenor. The MHA100/HE1000 combination
helps one hear and ‘see’ everything, both inside
and outside the church. From the beginning of the
track, a wuthering low frequency noise seems more
and more like traffic noise. I had heard traffic noises
HIFICRITIC JUL | AUG | SEPT 2015
AUDIO EXCELLENCE
Manufacturer’s Specifications
before throughout the whole record, but never to this
level of detail.
Bob Dylan’s Infidels (via Tidal CD streaming) has
led many a Dylan fan into infidelity, as they hated
the man for it. It’s more up tempo than previous
recordings, played with rock gusto with a little help
from Mark Knopfler (who produced it) and former
Rolling Stones’ guitarist Mick Taylor. I selected this
album for comment because I’ve never heard it like
this before. Drums that have sounded cheesy and
bloated have now some real punch and rhythm,
and I can finally understand what Dylan is singing.
I mean the lyrics, not that I understand what he
means. (Fortunately perhaps, because if Dylan means
what I think he means, he must have been under the
influence of something more than just religious and
political bigotry…)
You don’t know the meaning of dynamics
(-50dB to -10dB in the wink of an eye) until you
listen to a truly exceptional DSD256 recording,
like the Rondo-Finale of Mahler’s Fifth Symphony,
played by the Berlin Philharmonic (Native DSD
- DSD256 direct recording). This was recorded live
in Budapest, and is the closest thing I’ve heard to
an analog direct-cut. It starts ever so softly more
as a sonata with fugal elements than a true rondo,
until it reaches the climax or apotheosis. That’s when
you understand the importance of a reproduction
system like this one: the rolling of the timpani blows
you away at 4:45 and the brass breathes in pure joy
like a clean mountain wind. And what is more, if
you are a music student you can use this symphony
as a tool to study Mahler’s introduction to Bach’s
counterpoint techniques while at the same time
following the interaction of the different melodies in
the symphony.
Headphone Power Output
High: 1W/Normal 250mW
____________________________
Headphone Output Impedance
8-40; 40-150; 150-600 Ohms
____________________________
Speaker
Power Output 50W/ch
____________________________
Speaker Impedance
8ohms
____________________________
Sensitivity (Single-ended,
Balanced)
300mV, 600mV
____________________________
Input Impedance
25kohm
____________________________
Pre-Amp Output
3V (8V max) @ 500ohms
____________________________
DAC
16-24-bit/32-192kHz
____________________________
Size
(WxHxD) 29.2x14.1x45.7cm
____________________________
Weight
12kg
____________________________
Price
£4,995
Ancillary Equipment Used
Headphones:
Dynamic: Audioquest
Nighthawk, B&O Beoplay H6,
Focal Spirit One, Mcintosh
HDP1000, PSB PM4U1,
Sennheiser H800
Hybrid: Obravo HAMT1
Electrostatic: Koss ESP950,
Stax 009, King Sound HS3
Planar Magnetics: Audeze
LCD-3, LCD-X, EL-8,
HIFIMAN HE1000,
HIFIMAN HE560, Oppo
PM1, PM3, Ultrasone
Edition 8
Headamps & DACs: Asus
Essence III, Chord Hugo,
iFi Micro-DSD, McIntosh
MHA100, Meridian Explorer
V1, V2, Director, NAD
D3020, Nagra HD DAC,
NuForce Micro 3, Oppo HA1.
Conclusions
I admit my enthusiasm for this McIntosh design and
those deep blue eyes, which could have influenced
my appreciation. However, since the eyes are the
windows of the soul, the MHA100 certainly has a
great musical soul. It may be highly recommended,
and indeed I was so delighted with it that I bought
the review sample for my own enduring pleasure.
9
Subjective Sounds
PAUL MESSENGER
HIFICRITIC
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60
G
iven the content of this issue, it’s only right that I use this column
to stress the importance that enclosures play in the sound quality
of our loudspeakers, in both acoustic and mechanical terms.
Keith Howard provides a detailed theoretical analysis of the
situation on pp10-14. More subjective approaches may be found in Steve
Harris’ interview with Ole Lund Christiansen (pp35-39), and in my own
reviews of the metal-jacket MBA speakers (pp6-7) and the wall-mounted
vintage Goodmans Triaxiom driver (p15).
Stan Curtis even touches on the same general subject in his column this
month, at least when it deals with the bass end of things. He plans to go for
a wooden enclosure, but one that features Briggs’ classic sand-filled panels
– which may well be the most effective technique for using traditional wood
panels. In subsequent correspondence I asked Curtis whether he had thought
of wall-mounting, but he replied that the only reason he had abandoned that
approach was that he was contemplating moving house!
All of these articles point towards the undesirable role of the enclosure in
distorting the sound we hear from the variety of speakers that we use, and one
could certainly add the considerable progress that the young US company
Magico has made in this matter, to the point where Martin Colloms felt
obliged to purchase an example of the S5 that he reviewed for this journal
(Vol7 No4) as a reference (as well as a source of considerable pleasure!)
I recently spent quite a bit of quality time with another free-space floorstander
called a Kaiser Kawero! Classic, which I was reviewing for another magazine.
This is a very costly speaker with an enclosure that’s fabricated from something
called ‘panzerholz’ (which roughly translates a ‘tankwood’), an extraordinary
material that might well be considered the ultimate in enhanced wood. It’s
created by injecting beech ply with resins at high temperature and pressure,
and the very dense end result maintains the self-damping advantage of
a basically cellular form. Although it wears out tools rapidly, it can be
machined accurately, so in several respects it’s an ideal enclosure material,
and I understand that it’s also added to the doors of limousines in order to
render them bulletproof. Whatever, it certainly represents a fascinating and
very effective alternative to the metalwork favoured by brands like MBA, YG
Acoustics and Magico.
All the above use various techniques to remove some or all of the errors of the
traditional wooden enclosure. The ‘soffit’ technique that recording studios
have been using to mount their full size monitoring loudspeakers for a number
of years also goes at least part of the way down a similar road by effectively
eliminating the acoustic effects of positioning loudspeaker enclosures in space.
I guess it was just luck that I was in the position to insert a couple of orifices
in the structural wall behind the place where I normally locate loudspeakers.
It’s a little ironic that the initial stimulus for making these holes was the
simultaneous arrival of a number of flush-mount ‘wallspeakers’ from several
brands at the beginning of 1993, most of which were seriously handicapped
by inadequate mounting arrangements. By-passing the latter and cutting the
baffles needed to mount a 165mm KEF Uni-Q driver rigidly provided the clue
that led to using the big Tannoy DCs. That said, twenty two years on I still
haven’t got around to moving the door to shut the rearward radiation off from
the rest of the house.
HIFICRITIC JUL | AUG | SEPT 2015