28 Aug

High Fidelity, Objectivity and Subjectivity, when two worlds collide…

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high-end-2018After some very nice musical discoveries, great meetings with experts of electronics or loudspeakers and a few short trips to Paris, Reims or Brussels, the time has come for me to put my little suitcase aside and take stock. If travels – even the smallest ones – will keep you young, thoughtfulness will allow me to have a break and to clarify my mind in our very special field of music reproduction. Because musical reproduction is obviously in concern if we want, calmly, to define what is High Fidelity.

However, this definition will remain incomplete if we can not clarify it further. If I tend to think that High Fidelity will not pass the next generation without a serious questioning, I also had the opportunity to hear two very different sounds of bell… These two opinions rest simply on the question of the relation to the reality for the reproduced music. In this case, can we speak about objective or subjective relation to musical reproduction in relation to High Fidelity?

An antithesis that deserves a synthesis if we want to agree on what is High Fidelity

Munich-high-end-2018No need to look for rocket science to define what High Fidelity is. In a reasonable way, I would simply say that High Fidelity is related to the musical reproduction of a work, a piece of music, a concert or in a studio, according to the intrinsic limits of electronics, loudspeakers and accessories used to obtain this musical result.

To speak of reproduction and not of original listening therefore presupposes that one will try to get as close as possible to the original work by means of electronics and electroacoustic processes, in other words your speakers. We will therefore talk about a search for the highest possible Fidelity and therefore, to be closer to the real conditions of the concert. Until then, it is likely that we would agree if we consider this definition as responding to an objective consideration of High Fidelity. However, this objective value also presents the defect of its qualities, that is to say that it will be particularly difficult to obtain an exact reproduction of a piece of music recorded in the studio or in concert. Even the best electronics in the world will never give you a strictly accurate reproduction of what you have listened live or indirectly, in the studio.

When the “best” reveals the worst, the subject is clearly questioned

Munich-high-end-headphonesUnfortunately, it will be quite easy to see that those who boast the most of having designed the best electronics in the world give us the demonstration of the worst audible musical reproductions, only “audible” but not even “listenable” and still less “appreciable”. It is also a shame that it is in France that we must stand this kind of demonstration.

Aside from the budget issue, combine what you consider to be the “best” electronics with the “best” speakers and you may never get the “best” musical reproduction. How many systems costing more than 100,000 euros sound ridiculous in front of systems 5 times less expensive but may be 5 times better created? To date, I would have a hard time counting them. Let us admit, however, that some very expensive high fidelity systems are admirably musical; they really exist, but they are particularly rare.

How could we reconcile an instrument that vibrates naturally with membranes that can only reproduce this musical vibration?

cd-playerThe explanation behind this phenomenon is simple to understand. A musical instrument is made of a combination of wood or other string-related materials or other resonance mechanisms that combine their vibrations to create a sound (a unique and complex vibration) and to produce music that will depend on the unique talent of a musician, a person who knows how to put these vibrations in order.

Then, it will be up to him to create a melody considered as musical. For the human voice, it is even simpler since it is the vocal cords that produce this vibration. Until then, there is nothing very surprising. So, we would like that our electronics could give us the same objectivity, at least to consider that the music listened to in concert is a source of musical emotions, which is not always the case. As for the listening of a piece in studio, it is precisely this emotion released during the recording that one seeks, without necessarily obtaining it. The problem is there. Music reproduction, transmitted through electronics and speakers is no longer objective, although the technical progress can now approach this fact much better than before.

horns-speakersIn reality, the musical vibration is only reproduced at the end of the race by the membranes of our speakers whereas this same vibration was first translated into an electrical signal, modified a thousands of times by our electronics. From there, the question of musical objectivity will be more and more difficult to admit.

Of course, we will be the first to rebel against all forms of coloring, until the flat neutrality of a response curve will be as flatly reproduced by our speakers. We will lose musical emotion here by finding only a cold and tasteless musical message but not music as we consider to be as it has to be. To be very close to a violin solo or guitar phrasing or to the musical atmosphere of a concert will encourage us to talk about musicality but again, it is no longer possible to talk about musical objectivity.

The musical objectivity is that of the concert, the musical subjectivity is that of your electronic

vantage-loudspeakersWhether you like it or not, your electronics, and at the end of the track your speakers, do not translate the music to you in an objective way. This is even more true as those who rebel with an almost violent vehemence against this idea will always be the first to criticize the lack of “matter” or “dynamics” of a high fidelity system, or even a lack of harmonic richness in the medium and whatever I know…

These fervent defenders of the objective reality of a concert do not even realize that they are indeed the most quick to characterize their audio channel on purely subjective criteria. No matter what you do, it is absolutely impossible to listen to two exactly identical songs on two different audiophile systems, except in some cases, but they will not have anything to deal with audiophile criteria. These specific cases probably refer to low-end and made in China supermarket junks that will always give the same pseudo-musical clogged and distorted soup. In this very specific field, all electronics are consensus and if some of them do not, it would be conceivable to think that they can one day make music.

Music reproduction depends on the sound aesthetics of our electronics

speakersNo, an electronics that claims to be audiophile has a sound. The designers of these electronics have also developed their devices so that they respond as accurately as possible to the sound aesthetics they want to obtain. This aesthetic will be more and more recognizable, depending on whether one goes up in range. Here, there is no surprise either. Then you like it or you do not like it…

This also explains why there would be fans of the sound of Naim Audio, others of Eera CD Player or Helixir Audio DAC and what do I know yet. The sound of an electronic device or a speaker will de facto remove any notion of objectivity in terms of musical reproduction because it will be based on the choices desired by the designers. Even trying to design an electronic or a neutral speaker is a choice, but not often in agreement with the reality of the concert.

The notion of subjectivity is clearly exploited in the studio, from sound recording to final mixing

high-end-systemIt is even more difficult to talk about the objectivity of the concert from the moment when, for a given recording, the sound engineer will have his preferences as to the choice of microphones or even the placement of the latter.

If the aim is always to reproduce the sound space of a place, recording the timbres and the instrumental phrasing in the most exact way possible, each sound engineer will have his own method of recording, depending on what he considers to be the one that will be the most accurate in each situation. If this were not the case, there would be only one method of recording, developed according to this or that part of the room, but each recording is different from the beginning, just like the interpretation of a work can be, each time it will be played.

Whatever the song, even in concert, you will never hear it twice exactly the same; this is even more true for a recorded work. Then, inevitably, corrections will have to be made to the recording in order to obtain a bearable balance for our ears. It will be a question of obtaining a dynamics close to reality without omitting the smallest details which, in the absolute, should also be perceived. Nothing is more difficult than this kind of exercise. From there, the statistical probability that you heard exactly the same thing on your audio system as what was played in concert or in the studio is already close to zero.

A minimum of musical balance is necessary if you really want to speak about High Fidelity

From a technical point of view, however, we could admit the opinion of those who consider that a High Fidelity System is particularly unbalanced in high or bass frequencies. If the treble is screaming with a scrawny musical reproduction, accompanied by a flat stereophonic image, we will still have a hard time talking about High Fidelity, even less of something that seems to be appropriate to the musical reality.

In contrast, when low frequencies are not controlled and become invasive to the point that they hide a part of the medium, the balance will not be optimal either. From a more or less objective point of view, we could therefore agree on the question of the balance of the sound spectrum. From there, a few sound engineers will argue that we can speak of High Fidelity only when the so-called “natural” instruments are recorded.

Unfounded arguments do not contribute to the debate, but they push it into a bias

vanessa-carltonThe problem arises seriously when I try to imagine what an “artificial” instrument might be. In fact, I can not do it. However, defenders of classical music or, rather, sound engineers who record only classical music (or sometimes other music such as jazz or blues) by choice or by conviction, often forget that this kind of music (even if I listen to classical music) is not the only musical genre on Earth.

Having played the electric guitar for 20 years, I know something about it. But they will tell you that your guitars are based on a distortion and that the sound is not natural anymore. Except that in our time (and even in the days of Jimmy Hendrix) it was a harmonic distortion that had precisely nothing of a disharmonious sound. Otherwise, the rock would be impossible to listen and yet it attracts more fans than classical music…

Just admit that if you have an argument to talk about, you must also be able to imagine the opposite. Otherwise, it is nonsense. In another area, we sometimes hear about “naturopaths” but I have never heard of “artificialopaths” who would advocate the virtues of an industrial diet. No, very often, if you admit an argument without being able to define the opposite, it is because you are dealing with dreamers or charlatans.

The recording of a musical work is based on a studio work reproducing a certain balance with a good listening comfort

high-fidelity-kefTo go even further, and even if I do not really like it, I must admit that even a synthesizer could hardly produce artificial music because we must understand, or at least at the beginning, that a sound, even digital, has to be based on a natural vibratory model. From there, the same technical questions arise in the studio or on stage.

For example, we can talk about the need to compress a bass drum to make space for the other drums and then balance the sound of cymbals, etc. And God knows if this kind of balancing takes hours of engineering work. And even if my rack allows me to access hundreds of possible distortions, I do not really see what I could do if the vibration of the strings of my guitar could not be transmitted by the microphone to the rack. So stop making a fool of yourself with your “natural” instrument or mood considerations when it comes to evoking fidelity to music because they are baseless. It is these same sound engineers who strive to reproduce all the emotional power of a symphony orchestra when they consider that a rock band only makes noise to impress its listeners. We quickly fall into ignorance and the grotesque.

Music is a source of emotions, the raison d’être of our High Fidelity Systems

death-chuck-schuldinerSo, it is time to place to put things back in place. Finally, if it’s all about pounding pots to make noise, as it still happens, I’d be the first to say it’s not music. On the contrary, a musician first seeks to transcribe and transmit a message and his emotions with music. We come back to it, music is a vector of emotions. This is also why I evoked the “emotional power” of it. If music is made of emotions, it means that our electronics are made to let us appreciate them, and it is also the foundation of High Fidelity.

In my opinion, there is no difference in musical quality between Saint Saëns’ Danse macabre and The Voice of the Soul by Chuck Schuldiner. Let’s say that if the latter dedicated his life to music, it was also to send a message. “Lack of Comprehension,” “Mentally Blind,” “Spiritual Healing,” or “Individual Thought Patterns,” the titles of these tracks speak for themselves. So, this is to say that the relationship between the musician and the listener will always be based on a common vector, the emotion. In the literal sense, it is undoubtedly a common movement that creates a complicity; perhaps this would be one of the most exact definitions of music.

So, if we really want to talk about High Fidelity, please understand that it is not a question of defining if the music is based on the way the work itself was created but of knowing if your electronic and loudspeakers will convey a fidelity as exact as possible to the original message transmitted by the musicians but especially, if the emotion they wanted to transmit will be perfectly palpable too.

These emotions will go through your electronics and your speakers, with their qualities and their flaws. These attributes will then be variously appreciated by audiophiles. Once again, we come back to the same thing. That is to say that there is no High Fidelity without approaching the acoustic reality but this is not where the High Fidelity really is. Depending on the listener, it is, it remains and will always be purely subjective.

Eric Mallet

 

 

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01 Jun

Sound Days 2018, Paris, Vinyl, Streaming and Headphones Exhibition

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Sound-Days-Paris-2018While most French and French speaking exhibitions generally take place at the end of the year, May is also a good time for trade shows and exhibitions, almost when they are marked with a bit of originality or rather for gigantic High Fidelity Exhibitions like the Munich High End that just ended recently. In Paris, an atypical High Fidelity Exhibition is now held in May, since a few years only.

Indeed, it is at the Carreau du Temple that the weekend of May 26 and 27, 2018 Sound Days will host a large number of famous brands, specifically related to the world of headphones, vinyl and dematerialized music. If the idea is rather original, you know like me that the market for headphones, classic or in-ear, continues to grow, to the delight of our ears. Young people are also very fond of big headphones, lugging everywhere to the point that it gives them a kind of Mickey’s ears appearance even if I find such demonstration really ridiculous, it’s may be a question of generation anyhow…

The Sound Days 2018, a new High Fidelity Exhibition, exclusively dedicated to the world of headphones, vinyl and streaming

sound-days-parisStill, the Sound Days 2018 edition will be held at the Cultural Center of the Carreau du Temple in the 3rd arrondissement, at 4 rue Eugene Spuller, in the historic district of the Marais.

In other words, the place is particularly well located and is conducive to musical culture. Talking about streaming and vinyl, I’m not going to give fresh news by telling you that here too, we are in full booming of the market and full rediscovery of the joys of vinyl, with its sounds, singing so much and purely analog to our ears. Nevertheless, there is no need here to restart a dialogue of the deaf (and at least ridiculous) on the supposed superiority of analogue on digital. The very existence of this new show proves that this debate is today largely outdated. On the program of the week-end, more than 80 exhibitors will make the trip to the Sound Days 2018, and we will see several major brands such as B & W, Beyerdynamic, Furutech, Chord, Naim, Rega, Marantz, NuPrime, Onkyo, Klipsh and many others…

The best brands of headphones such like Grado, Stax, Earsonics or Meze Audio will be at the Sound Days 2018

SOund-days-Paris-2018About headphones, we will also benefit from the presence of Final Audio, Stax, Grado, Meze Audio (and I’m still not back from my emotions of this surprising listening to their headphones in Munich!…), JHAudio, Sennheiser, AKG, Audeze, Astell & Kern (which not only makes excellent headphones but also very good digital players) and Fiio which precisely, also offers digital walkmans at affordable prices. The talented French Earsonics will also be present during this weekend to enchant our ears, their absence would have been really a shame!

About vinyl and analog music, we will also be gratified by the presence of Rega (obviously!), Clear Audio (obviously! again), Ortofon, Pro-Ject Audio (of course). Some other brands that greatly delight my little heart of audiophile will also be on the show including my favorite brand of cable, JPS Labs, and Pathos, Shanling (at least for its digital music players), Dali (from the moment that their speakers are connected to something other than a low-end NAD system). Among those who are indifferent to me (to remain polite), such as Audioquest cables, B & O, Pionneer, Sony or Yamaha will come to encumber a few square meters of this new edition of the Sound Days 2018.

The Sound Days 2018 are sponsorised by Son-Video.com

The event is supported and organised by Son-Vidéo.com and most importantly, the Sound Days 2018 is a FREE High Fidelity Exhibition. All you have to do is to register online on their Website or on Son-Vidéo.com. In these conditions, and to see the number of brands of quality that will be present during this show, I take this opportunity to thank the organizers greatly. On these beautiful words, I meet you Saturday, May 26 for the Sound Days at the Carreau du Temple in Paris 🙂

Eric Mallet

 

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09 May

Open Days at New Music in Brussels with Nagra, Wilson Audio, JBL and MacIntosh MA 252

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New Music MacIntosh MA 252It was again with a great pleasure that I went to Brussels at New Music to listen to the legends of High Fidelity and, to tell the truth, we rarely take advantage to listen to so many renowned electronics gathered in a single piece. So I had to make another nice trip to Brussels at the beginning of the year. Arrived early enough at Brussels Midi station, I quickly took the subway as I already begin to be a little more familiar with the city.

As an aside, I will then present my next article on the open days of Présence Audio Conseil in Paris. I had the pleasure of discovering in exclusive preview the new speakers of Magico, the A3. However, I probably would not have enough time to write a good article on this excellent weekend spent in Reims, with Christian Catauro and his electronic Helixir Audio. By cons, I will return later on the electronics of Christian because it really honors the French High Fidelity. But for now, let’s go back to the Belgian capital and to New Music more specifically, where I was again received by José with a lot of sympathy. The auditorium is still situated at the bottom of the store, through the garden.

A rewarding listening day at New Music on January 27, 2018

JBL Loudspeakers New Music BruxellesLet’s say that if we had to start the year on a good start, it is on the discovery of a good audiophile system that I would do it. Here we were treated as princes because we had two music systems to listen and I wasn’t hiding my satisfaction at all. I also had the pleasure of discussing again with the organizer of the High End Innovation show organized by New Music as every year in Brussels. The discussion proved to be particularly rewarding and generally, when two audiophiles meet, they enrich each other’s knowledge.

Kommer Kleijn also made us the pleasure of joining us (with his  very much appreciated sense of humor) on this fresh Saturday of January on Brussels. A particularly nice and competent character in the audio as well as the video field, Mr. Kleijn is the creator (among others) of a pair of innovative acoustic speakers, the John Watkinson Legend. Its speakers, associated with a converter and other high-level electronics, were demonstrated at the Brussels show of New Music last year. Here too, I can only recommend you to go and listen to them!

Mac Intosh MA 252That said, let’s go back to New Music where I had the pleasure of discovering the two presented systems. The first of them (considered as the “small hi-fi system”) was based mainly on the beautiful MacIntosh MA252 with the nice JBL speakers (and its 38 cm woofer!), the source was a DCS player and DAC. The second system was based on a very high-end TechDas Airforce 3 turntable with its Graham arm and TechDas TDC01TI cell in terms of source.

A Nagra CD player was also chosen as a second choice for digital playback to this exceptional analog source. The loudspeakers were the Wilson Audio Alexia 2 powered by the Nagra HD Amp mono power amps and Nagra HD Preamp or Nagra phono preamplifier with (like the cherry on the cake ;-), a Nagra T smooth tape recorder.

The first listen has been made on JBL and Mc Intosh MA252 High Fidelity System

New Music Bruxelles JBL MonitorsThis first listening of the McIntosh system, ending on JBL speakers, was held with many pieces of classical music in most cases. The listening was particularly neutral with a medium lightly behind, the JBL and their 38 cm probably lacked room to express themselves fully. The bass frequencies were taking too much space for my taste while the medium was too quiet but no one could really criticize a lack of clarity. Seeing the system, the speakers were probably too close to the back wall. José confirmed that thought to me but the situation (with two systems in the same room) forced him to find a compromise compared to the second system with Nagra he wanted to privilege. Explained as such, it was understandable but the listening was therefore a little worse than I expected.

A bit intrigued by this medium frequencies probably flat too but nevertheless sounding familiar to me, José also told me that he had to use Shunyata Research cables instead of Charlin cables originally intended for listening. It was a choice that had been suggested to him by the importer. Here too, it was a small regret confirmed by the listening. I knew this sound well since I owned the Shunyata Gemini loudspeakers cables. On JBL loudspeakers, the association was probably not optimal.

High fidelity system with a great sense of neutrality, I could not however criticize the listened system without saying that the timbres seemed to be particularly just. Quality that struck me too, the fluidity of the musical message and its expressiveness seemed to me particularly accurate, to the point of revealing the intention of the musicians in a very just way. I still remained on a “half-disappointment” because of the lack of Charlin cables that could certainly have given a better balance to the listening, with a beautiful medium and a musical articulation just as exact in terms of rhythm and intention of the musicians.

Nagra preamp monitor, Nagra mono blocks amplifiers, TechDas Airforce 3 turntable, TechDas TDC01TI and Wilson Audio Alexia 2

Nagra New Music Bruxelles Listening to such a high fidelity system, we are still entering another world. The association of Nagra and Wilson Audio Alexia 2 is exceptional in terms of coherence, at least with the turntable player we listened. I found that the “matter” of the sound was evenly distributed over the entire sound spectrum but with a certain clarity, allowing nothing to hide the musical message we were listening to.

With this system, we enjoy a bit of both worlds with a musicality which was appearing clear but neutral, without invasive low frequencies problem. Here, we were in total opposition to the McIntosh and JBL system, but the inappropriate use of Shunyata Research cables, in my opinion, was mostly against the system. With Nagra amplification and Wilson Audio loudspeakers, the low frequencies actually only showed up when they were on the disc, without emphasis. They did not have this character of being a little too systematic or too forward, sometimes heard on speakers whose boomer is particularly wide.

A TechDas vinyl source and Nagra tape recorder of exceptional musical quality

Nagra New Music BruxellesI would just add that the exceptional quality of listening was based first on the vinyl source, here a TechDas Airforce 3 with a cell of the same house. Total absence of background noise, exceptional musicality, everything was there to satisfy as much the music lover as the audiophile in search of musical emotion. The naturalness of listening was such that it becomes difficult to ask anything other than listening to this quality for a vinyl source.

At the risk of repeating myself, this characteristic association of the Nagra electronics to spare as much the materiality of the sound as the clarity of the listening managed to make the listening even more pleasant, without excess or lacks but with a lot of freshness to the listening. Whether on a symphony or a more confidential classical music, the Nagra system showed distinction and precision. With timbres perfectly reproduced, very close to reality.

During a short moment, we took advantage of a listening on the Nagra tape recorder to obtain again a very clear gain in terms of realism and accuracy of the timbres. Source very close to the Master, we took advantage of the top of the analog, with a musicality hardly imaginable in digital, at least for the vast majority of CD players or streaming marketed to date.

A live of Eric Clapton that changes a bit of classical music and symphonies

Wilson Audio New Music BruxellesWe will change a moment of registry with Eric Clapton in concert and again, the stereophonic space rendered by this  High Fidelity Nagra electronics plunged us easily into the atmosphere of the live music. Let’s say that the vinyl source easily contributed to immerse ourselves in the atmosphere of each song listened, whatever the style could be. The musical balance was particularly good, simply natural, without adding anything.

Again, the bass frequencies were marking their presence when it was clearly written on the disc but without the impression of being systematic as we heard sometimes with the JBL system. Let’s say that the Wilson Audio loudspeakers, associated with Nagra, wasn’t presenting the same listening, with the coolness and liveliness of Nagra electronics, qualities already appreciated during the show presented by the French High Fidelity Magazine at the end of 2017. These qualities of speed and spontaneous energy was also noticed again, just as last year. It was perhaps in part due to the excellent Charlin furniture on which the electronics were laid.

I would add that I had another excellent musical listening time at New Music in Brussels, with the usual kindness of José who is clearly involved either in this typical Belgian conviviality and that we rarely find elsewhere. In Brussels, I felt a bit like home. Let’s add for the story that my grandparents on my father’s side were Belgian and from Brussels. My grandmother had to leave Belgium for Lille when she was still young; she had never really accepted it.

Eric Mallet

 

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08 May

Apurna, a New and very Promising Brand of Amplifiers for the French High-End!

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Apurna-amplifiersIf most of the people you met, saying that they are interested in musical reproduction but they do not know, or only know few French brands, there is nothing really surprising about it. From my point of view, I even tend to consider this fact as a quality. Indeed, the French Haute Fidélité is placed, and has always been placed in the High End of the market. Let’s say that this is not unpleasant and however, it is quickly confirmed when you listen to partially French systems (speakers or amplifiers) or even when it is 100% French made.

The new French brands are also rather rare these days. This is one more reason to give a privileged place to those who support the French High Fidelity, in close relation to the excellence of the musical reproduction that each audiophile is entitled to expect. This new brand is called Apurna. It presents us several lines of amplifiers, resolutely situated in the Top of the High End.

Apurna, a Brand of High End Amplifiers resolutely different in Design and Originality

Apurna-amplifiersApurna is a French brand of analog amplifiers which aims to bring you several High End amplification solutions in terms of musical performances while associating the quality of a particularly studied, if not original, design. Then, we love or we don’t but for my part, I welcome this initiative that comes out of the same eternal paths of the High Fidelity when 99% of manufacturers, French or foreign, simply present you this eternal rectangular case of 44 cm, itself coming from the professional rack format.

Be careful, however, not to confuse everything. Talking about originality of design is not synonymous with originality in a connoted or negative sense, the Apurna design is unequivocal: pure if not cleared. Based on 3 collections (Soprano, Evidence and Apogee), each one of them gives you the choice of the colors, even of a leather covering for the Evidence collection. The Pinnacle collection will bring you even more options of colors and finishes. The vocation of Apurna is to combine elegance with technology, that’s how the designers of this new French brand of analog amplifiers conceived them.

High-level analog amplification combined with luxurious refinement rarely seen in the High End

At a time when some are lost with digital amplification technology patents and sometimes with very average sound results, Apurna has chosen a sophisticated analog amplification technology. Indeed, Apurna amplifiers are all manufactured in France, based on a technology inspired by the space domain to guarantee first-rate musical performances. Resolutely High End, the Apurna amplifier finish gives you the choice of the most noble materials to dress up your amplifiers.

And on the performance side, the first range of Soprano amplifiers already delivers 150 W RMS on 8 ohms, with a power doubled on 4 ohms (compatible with a load of 1 ohm). The bandwidth (at 150 W) is between 0Hz and 71 KHz (-0.1dB) while the signal-to-noise ratio (A weighting) reaches a level higher than 118 dB. RCA and XLR inputs are available, the speaker outputs are made with WBT 0702.01 in 24-carat gold finish. The preamplifier option is also available on request.

The Evidence collection offers an amplification of 200 W RMS, doubled on 4 ohms while the Apogée collection delivers 230 W RMS on 8 ohms, also doubled on 4 ohms. Naturally the possibilities of options also grow according to the chosen range.

As for listening to Apurna amplifiers, I look forward to seeing you at the High End in Munich from May 10 to 13, where the three Collections of the French brand will be presented in Hall 2, stand E13.

Eric Mallet

 

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11 Apr

Audiodynamics and L’audioexpérience are walking on the same path…

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New-Music-High -FidelityWe, Eric MALLET, author of the blog www.audiodynamics.info and Jean RAZZAROLI, author of the blog www.laudioexperience.fr, announce that our project is to REDEFINE THE LISTENING of a High Fidelity System. Too often unsatisfied with the listening we had in resellers stores or during trade exhibitions, we conducted a reflection on the market of the High Fidelity and its Actors, Manufacturers, Resellers and Clients…

We are able to find High Fidelity Systems without compromise, whose common point is to RESPECT the RECORDING and the intentions of those who took part in the sound recording. From now on, you will be able to ENJOY THE MUSICAL LANGUAGE in all its fullness, starting from an audiophile equipment, ideally implemented.

Real High Fidelity have to create a link from the Systems to the Audiophile Listeners

Far from the fallacious language and complacency still too often encountered in the field of High Fidelity, we will accompany you to make you LIVE YOUR MUSIC IN ANOTHER WAY. You and ourselves, have often wanted it. Soon, this project will become a reality (does it remind you of anything?).

We will keep you regularly informed of the progress of our project, until the date of its complete realization, that we hope to be as close as possible.

Eric Mallet and Jean Razzaroli

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