2014 Awards!EAN AnnouncesProducts of The Year

Audiophile, Home Cinema, Recording, Personal Audio Gear Recognized For Outstanding Performance

by John Gatski

  For 2014, EAN has selected its Product of The Year Award winners. Most audio products reviewed on this site are top-notch audio components, but there is just a bit extra with the products that I chose this year, either in their performance, utility or value or a combination of these factors. Happy Holidays. You may end up buying one of these products — just like I did.

Audiophile Product Of the Year

Oppo HA-1 DAC/HP Amplifier,

Benchmark AHB2 Amplifier

Click Oppo HA-1

  There are two in this category: the Oppo HA-1 DAC/headphone amp and the Benchmark AHB2 amplifier. The Oppo HA-1 gets its award designation because it offers a state-of-the-art DAC that is virtually future proof — with its up to 32 bit/768 kHz PCM decode, as well as quad-speed DSD. The clincher is the way-above-its-price Class-A discrete headphone circuit that is so good I use it for line stage output. It also has plenty of connectivity, (analog I/O and all digital inputs), advanced features (such as digital word length indicator that only a few DACs are equipped with) and it only costs $1,299!

  An audiophile would have to spend four times as much to get significant improvements in audio and match the features set. In my opinion, If you re serious about hi-res via headphones, the Oppo HA-1 is a must buy.

Click Benchmark AHB2

  The $2,995 Benchmark AHB2 gets the award because its design pushes the spec envelope of power amplifiers. It is no longer enough to have 100 dB S/N ratio (or worse) spec’d amplifiers when you have the Benchmark measuring in excess of 130 dB! That is better than the majority of DACs can perform. It is digital performance from an analog amp. And the amp sounds great as well — a very neutral analog sound with tight bass and gracious stereo image. Throw in the reasonable price tag, and its award status is a no-brainer.

Home Recording Product of The Year

TASCAM DA-3000 24-bit/DSD Recorder

Click TASCAM DA-3000

  The DA-3000 is for those of those who like to record and listen to audio in a pro or an audiophile setting. This combo A/D-D/A recorder/player, priced at $1,299, is the successor to the best buy DVRA-1000HD. The DA-3000, however, adds double speed DSD record/playback, CF card storage, and is about $600 less than the old DVRA-1000-HD.

  The on-board A/D-D/As for PCM and DSD are way better than many separates. Even against high-end separates the audible difference is nearly nil, Plus, it can record and play using CF, SD card as well a USB thumb drive. It is the most-utilized tool in my recording arsenal. Audiophiles can use the DA-3000 just for download playback — up to 24/192 and DSD; it has the right connections (balanced and unbalanced analog, plus SPDIF, TOSlink and AES/EBU digital I/O), and a good headphone amp. Maybe you want to archive your vinyl collection in hi-res...be my guest.

Home Cinema Product of the Year

AudioControl AVR-6 7.1 Channel Receiver

Click AudioControl AVR-6

  We reviewed really nice receivers this year, and they all offered quality sound. I chose the $3,950 AudioControl AVR-6 because of its audiophile-caliber sound quality, The openness and spatial projection is definitely a cut above most receivers. The decoded sound from BDs is impressive. I even played hi-res from an Oppo BD-105, while connecting the AVR-6 with my MartinLogan Montis electrostatics, and came away quite impressed. It does not have many Internet apps, DSD decoding via HDMI, or other features that A/V receivers are equipped with, and it is a bit pricy, but what it does have is ‘the sound.” It is better than many separate pre/pro amps combos I have auditioned.

Personal Audio Product of the Year

USB Audio Player Pro Android Player

Click USB Audio Player Pro

  Okay, it has not officially been reviewed on EAN yet, but, boy, do I ever use USB Audio Player Pro. This $9.00 Android hi-res player features up to 32-bit/384 sample rate PCM and 2.8 MHz DSD playback when linked to a compatible a USB-input DAC. Plus, it decodes FLAC, WAV, AIFF, MP3, OGG, etc. It works with most noted Android tablets, and its transparent playback to your favorite DAC sounds aces. Rivals the computer player software. USB Audio Player Pro also contains playlist management features, EQ and several tweaks to assure smooth playback with different devices.

  What’s really handy is its portability. USB Audio Player Pro allows you to play super high res, such as 24/384 and DXD), without going through a computer. Thus, it is extremely portable. I have it installed on two Dell tablets and an Android Smartphone. I keep one in my main audiophile rig and one in my recording suite to monitor my home-brew 24/384 PCM guitar recordings. I also use an Android Smartphone and a Resonessence Concero HP for mobile hi-res listening.

  There are a few hi-res audio software players out there for smart devices to output hi-res audio via USB, but none that I have tried can touch USB Audio Player Pro.
  
"Luxury Audio" Products of the Year
Pass Labs XS-150, MartinLogan Neolith

Click Neolith or Xs-150

  Although they are well above $60,000, I have to acknowledge two ultra high-price products I got the chance to hear this year. The Pass Labs Xs-150 "super Class A" MOSFET monoblock amplifier, at $65,000 per pair, is an exquisite amp that exudes high class all the way. The Xs-150 has a luscious, musical character and the widest soundstage I have ever heard from an amplifier.
  The starts-at-$80,000 MartinLogan Neolith is the company's flagship, top-class electrostatic that I took a few hours to evaluate at an area dealer last November. The Neolith exhibits the same enveloping sonic character of the best ML speakers — only the much-larger transducer fills up big listening rooms with its open, detailed soundstage; its passive, dual-bass driver arrangement kicks out 25-Hz bass as loud and tight as any subwoofer. A more detailed review of my experience with the Neolith is coming shortly.

  John Gatski is publisher/owner of the Everything Audio Network. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Audiophile Speaker Review!Benchmark SMS1 6.5-inch Two-Way:"DAC Company Debuts New Speaker"

Brevis...

Price: $2,450 per pair

Likes: precise midrange/treble

Dislikes: fragile grill hook 

Wow Factor: hi-end  in a small box

More info: Benchmark SMS1

by John Gatski

  I have reviewed some really good speakers over the last couple of years but the speaker reviewed here came as a bit of a surprise. Known for its superb line of DAC, A/Ds (DAC1, DAC2, ADC1, etc.), Benchmark began expanding its line in 2013. First with the ultra- quiet ABH2 analog amplifier, co-developed by THX, and now the SMS1 speakers.

  Developed with Dave Macpherson of Studio Electric (Salt Lake City), the SMSI is about as close to neutral as you can get out of a reasonably priced small loudspeaker, and it has good bass from 45 Hz on up. Mate them with the ABH2 amp and you have a terrific small system for hi-res playback, or as a foundation for a 5.1 surround system — by adding two more amps and three additional speakers.

Features

  The Benchmark SMS1 is an acoustic-suspension, two-way, compact loudspeaker. The basic model is priced at $2,450 per pair. It is designed with a 6.5-inch high-performance woofer and a 1-inch soft dome tweeter. Rated frequency response is 44 Hz to 22 kHz, plus or minus 3 dB. The crossover is centered at 3 kHz. Sensitivity is 88 dB. The nominal impedance is 6 ohms and recommended power is 30-200 watts. The well-braced cabinet is stiffened to eliminate undesirable resonances, which keeps the image clean and focused, yet the SMS1 only weighs 23 pounds.

SMS1 two way: 6.5-inch/1-inch drivers

  Unlike most hi-fi speakers the SMS1 sports not only the typical speaker binding posts (bi-wireable), but also the professional SpeakOn connector, a termination system that twist-locks — and with a substantial amount of metal-to-metal contact with the jack surface. Benchmark said it can even measure lower distortion using Speak-On cables over conventional speaker termination. The rear panel also includes a bi-wire switch.

**The removable grill is designed to be left in place while playing through the SMS1. Cabinet dimensions are 10.75" W x 13.5" H x 9.87" D. Recommended stand height is 36 inches. Benchmark also sells a custom-ordered stand for the SMS1 at $249 per pair. The cabinet finishes are black, mahogany and padauk. The upgraded, solid hardwood sides are an additional $200 per pair.

The compact Benchmark SMS1 is an impressive, two-way crossover speaker with Benchmark’s typical attention to quality. Its compact size makes it easy to place, and suitable for many kinds of listening environments. The speaker's standout characteristics include vocal clarity and imaging.

The setup
  Coming on the heels of the Benchmark ABH2 amplifier review, I was able to pair the SMS1 with the company’s reference amp, as well as my other amps on hand: the Rogue Audio Medusa digital/tube hybrid, Bryston 14B-SST, Pass Labs Xs-150 super class A, and my vintage Macintosh MC275. Preamps included my Coda line stage and Rogue Audio Model 99 Magnum tube line stage/phono pre. During the testing, I used various DACs and their line outputs, including a Benchmark DAC2-D, Oppo HA-1, Mytek Stereo192-DSD, Resonessence Labs Mirius and the new Parasound Zdac.

  Sources included Oppo BDP-105 and Marantz UD-7007 universal players, Macbook Pro using Audirvana player software and a Dell Venue tablet with the USB Audio Player Pro software player. Music ranged from 16-bit CD to 24/384 PCM — and 5.6 MHz DSD.

**All wire connections were made using Wireworld premium cables, including analog, digital, USB and HDMI (to operate the LED). All power connections were made through Essential Sound Products Essence II power cords and power strip.

  The speakers were placed on my Apollo speaker stands and toed in a few degrees. I tested the speakers with the grills off and on. My preference was with them off, but they are designed to be left on without adverse acoustic effects, according to Benchmark Vice-President John Siau, who also is chief engineer/designer.

**As delivered, the speakers were brand spankin' new and had no factory break-in time, so I put them on a continuous four day diet of test tones and music, courtesy of Bluetooth and the Oppo HA-1. It took about two weeks of playing to really hear them at their best.

The audition

  Since I still had the Benchmark AHB2 amp on hand, I thought it would be a great amp to start the listening sessions. First up was The Anthony Wilson Trio - Our Gang, one of my favorite SACDs, which features jazz guitar ace Anthony Wilson, a drummer and Hammond organist playing originals, plus Jazz and Pop instrumental covers. I love the warm, open sound with the ever-present drum cymbals, a solid kick drum and the interplay between Mr. Wilson’s Gibson jazz guitar and the organ. On good speakers, the slightly warm DSD texture has an intimate jazz club feel, and I am happy to report that the Benchmark speaker pair aptly relays the recording’s midrange and treble character — and with good bass.

SMS1 rear panel

  The speaker exudes an even bass above 40 Hz and a present midrange and treble — with excellent execution of transients. The soft dome tweeter has commendable clarity, yet is not hard sounding. Drum cymbals have just the right amount of metallic sheen — without a hint of brittleness.

  Versus the similarly sized Legacy Studio ribbon-tweeter speaker, a favorite small speaker of mine, the Benchmark had a bit more treble impression on top, but the bass character and midrange clarity were similar. They both have the capacity to fill up the acoustic space in a small room.

  On the Tom Jung-recorded Flim and the BBs - Tricycle digital recording from 1983, transferred to DSD a few years ago, the SMS1s projected the ultra- dynamics of the recording just fine. The piano and horns are quite potent on this recording and get a bit of extra kick from the high-res transfer (originally a Mitsubishi X-80 16-bit/50-kHz PCM recording); the SMS1 pair handled it all just fine.

  I like how clean these speakers are in the crossover region, 2 kHz-4 kHz. Very easy on the ears at louder levels. Benchmark’s John Siau said “the film capacitors are the absolute best that we can buy. They are custom built for us in the UK. The inductors are all air-core. We have completely avoided iron-core inductors in order to minimize distortion. This adds cost, but we are pleased with the results.”

  For a 6 1/2-inch woofer in an acoustic-suspension design, the SMS1 relayed the Tricycle recording kick drum with a good deal of whack. They may be small, but they still have solid bass. In the center of the room, my RTA showed the speakers to play dead flat at 50 dB and only 3 dB down at 45 Hz.

  Two-way speakers sometimes inaccurately render vocalists, especially a female vocalist. The woofer/tweeter compromise can sometimes project audible aberrations in either a too-forward or recessed vocal presentation. Or the tweeter exhibits an overabundance of sibilance. The SMS1 is not one of those speakers; the female vocalists sound nearly perfect. On the hi-res download of Linda Ronstadt - Heart Like a Wheel, the singer’s full power can be heard without any harshness. The single “You’re No Good,” is a prime example. Her range and power propels the tune through the SMS1 duo, but the voice maintains its sweetness.

“One key to the speaker’s vocal clarity is our choice of the crossover frequency,” Benchmark's John Siau explained. “It is deliberately placed above the female vocal range. Most two-way speakers place the crossover in the middle of the female vocal range.”

  “One key to the speaker’s vocal clarity is our choice of the crossover frequency,” Siau explained. “It is deliberately placed above the female vocal range. Most two-way speakers place the crossover in the middle of the female vocal range.”

  On Diana Krall - Glad Rag Doll, Ms. Krall’s (aka Mrs. Elvis Costello) warm, husky tones are delivered spot on with nary any excessive sibilance. And as a two way, the voice level was balanced with the rest of the instruments.

  Male vocalists stay true through the Benchmark speakers as well. From the Willie Nelson - Stardust SACD, Mr. Nelson’s half nasal/half chest singing style, does not sound overly thin on these speakers as I have heard them on other two ways (and even some three ways). An evening listening session with several choral group SACDs, also confirmed the SMS1 pair’s superior vocal delivery impression.
  As I got through more and more albums of hi-res music, I also noticed a common thread through all the recordings. The imaging is spacious with impressive width and detailed depth. In the 8 ft. to 10 ft. distance, they fill up a small-to-medium room quite nicely. Music with multiple track layering could be clearly heard.

  On the SACD reissue of Bob Dylan — Infidels, the track “What’s A Sweetheart Like You,” has multiple rhythm guitars and a lead guitar underlying the basic rhythm tracks. On headphones and a really good DAC, the separate tracks are easy to pick out. Speakers have to be on their game to reveal the instruments in the same fashion, and the Benchmarks did a nice job opening up the mix to hear all those guitar layers. My MartinLogan electrostatics deliver more separation among the guitars on that song, but the electrostatic is noted for its vast imaging properties. For the SMS1 to project substantial audio detail is quite a testament to the speaker.

  Siau attributed the SMS1‘s precise stereo image to the selection of the best parts available for speaker crossovers and drivers. “The key here is the tight tolerance of the crossover and transducer components. Slight differences can create phase differences between the right and left speaker. These phase differences can produce errors is the spatial imaging. We have minimized these phase differences through the use of precision capacitors and inductors.“

  My impressions of the SMS1 was not confined just to the Benchmark amp; the speaker pair’s consistent accuracy and easy-to listen to quotient was there when playing through any of my amps, though each amp imparted its own character into the equation. The Benchmark amp was extraordinarily clean, and no idle noise whatsoever. The $65,000 Pass Labs Xs-150 had the widest space impression. Midbass was solidly flat in response with the Bryston 14B-SSTII and the Rogue Audio Medusa tube/digital hybrid.

In the studio

  Because of the SMS1’s size, they made a great pair of closefield speakers for my home recording rig. I used them with the compact Benchmark AHB2 stereo amp. As a monitor system for my DAW, the components included the Benchmark amp, SMS1s, and a DAC2-D as the D/A and preamp. Sitting them on my pro Raxxcess stands and located about four feet from my workstation desk, these speakers delivered their truthful tone through my various quality check and editing playback sessions.

Premium parts used in SMS1 crossover

  The SMS1 is an excellent pro-caliber passive monitor. The workstation audio was clean and smooth. Specifically, my 24-bit acoustic guitar recordings were uncannily real in their dynamics and spaciousness through these speakers. It’s what I expect from a Benchmark product. Of course, most pros go for powered speakers because it makes for a simpler system, but as with the Bryston Mini-Ts reviewed a few weeks ago, passive hi-fi speakers with the right amp can be a credible choice for studio monitors.

  For the money and taking into consideration its USA-build and high quality audio character, I did not find much to complain about in the Benchmark SMS1. Placement near the sidewalls can cause the midbass to rise. I like a minimum of six feet. And I did have one ergonomic snag; the removable grill on one speaker broke into two pieces when I inadvertently pulled one end a bit too hard. The tug separated the attached end of the grill from the grill frame. You must pull from the center of the grill to remove without stressing the grill ends. Benchmark says the grill ends have now been strengthened to reduce accidental breakage during removal.

The verdict 

  The compact Benchmark SMS1 is an impressive, two-way crossover speaker with Benchmark’s typical attention to quality. Its compact size makes it easy to place, and it is suitable for many kinds of listening environments. Standout characteristics include vocal clarity and imaging. Bass is pretty darn good as well, especially for an acoustic suspension/6.5-inch driver arrangement.

  In a marketing sense, I also think Benchmark is shrewd — with its recent roll-out of non-digital products for the hi-fi market. The new products (ABH2 amp and these speakers) in 2013-2014 have increased the breadth of its line to reach more customers. You can have a nearly complete hi-fi playback system that is all Benchmark— DAC, preamp, amp and speakers. The only thing you need is a player.
  In the end there will be folks who buy the complete system (I talked to several interested potential customers during the review process), but I am certain there will be plenty of audiophiles who buy the speakers a la carte and match them with their own amps. Either way, the Benchmark SMS1 is a first rate speaker. It goes on my list of recommended small speakers and recipient of the Everything Audio Network Stellar Sound Award. 

  John Gatski is publisher/owner of the Everything Audio Network. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Recording Review!Mojave Audio MA-100 Small Diaphragm Omni/Cardioid Vacuum Tube Microphone"A New Look at Royer's First Tube Mic"

©Everything Audio Network

Brevis...

Price: $795; $1,500 (stereo-pair kit)

Likes: exquisite sound, omni included

Dislikes: why did I not try this mic years ago?

Wow Factor: classic Euro-flavor small mic

More info: Mojave Audio MA-100

by Dr. Frederick J. Bashour

  My previous experience with David Royer’s Mojave Audio microphone line has been with his solid-state models, the MA-301fet and the MA-101fet. — both reviewed on EAN. But before Mojave released those solid-state FET models, the company first produced his vacuum tube originals—the large-diaphragm MA-300 (and MA-200) and the medium-diaphragm MA-100 reviewed in this article. In fact, according to David Royer, the miniature JAN 5840 tube-based MA-100 is his oldest microphone design, dating back to the mid 1980s.
  Since I own so many vintage vacuum tube mics already (and practically no solid state models), I had frankly been more interested in auditioning Royer’s solid state models. Having now heard (and favorably reviewed) those two models previously in EAN, I finally gave in and told my editor, “OK, now you can request a pair of MA-100s, and we’ll see how they compare to the usual Neumann, AKG and Schoeps suspects from my collection of vintage mics from the fifties and sixties.”
  So let’s answer that question first. Just as vintage Neumann KM 53/54s, AKG C60s, and Schoeps M-221Bs sound nothing like each other—to engineers familiar with all of them—the Mojave MA-100 sounds similarly dissimilar to the AKG and Schoeps models. However, I was pleasantly surprised that my pair of MA-100s did sound “in the same family” as my prized pair of (1-micron. Stephen Paul-modified) Neumann KM-54s and original nickel diaphragm KM-253s. I say “surprised” because, first, all the vintage “pencil-type” mics have approximately the same size diaphragms—around ½-inch, while the MA-100s have larger ¾-inch diaphragms.

With the MA-100, Dave Royer designed the quintessential, modern, pencil-type,  vacuum tube microphone for instrument recording. I only regret that I waited so long to try it!

  As I wrote in my earlier article—concerning the Mojave MA-101fets, which share the same capsule with the MA-100s—there are several ¾”-diaphragm mics available today, but “back in the day,” there were only the Sony models (C-37, C-500, etc.), and they were thought of as (or, at least, looked like) the large diaphragm models. Today, such mics are regarded as “in-between” small and large diaphragms—which makes perfect sense—but in the case of the MA-100/101fet’s capsules, they’re set up to act like smaller diaphragm mics, as will soon be explained. 

Features

  Spec-wise the Mojave contains a .8-inch wide, 3-micron thick diaphragm. The mic comes with cardioid or omnidirectional capsules. The frequency response is 20 Hz - 20 kHz, +/-3dB. Sensitivity is listed at -37 dB, re 1V/pa. Maximum SPL is 130 dB. The self noise is 16 dB. Impedance is 450 ohms. As mentioned, the MA100 is a bit longer than typical, small diaphragm “pencil” mics, 5.5-inches long.
  Each MA100 comes in its own carrying case with the power supply, shock mount and the connecting cables. Retail price is $795. You can also buy the mics in a $1,500 “stereo kit” — the MA100SP — with both microphones, a single power supply, the two mounts and a stereo bar, with all the hardware placed in a single case.

  Physically, the size of the parts used in the MA-100 preamp section produced a cylindrical tubular enclosure with the same diameter as the capsule, whereas the large transformer used in the MA-101fet necessitated a larger diameter for the preamp’s enclosure than the capsule’s diameter—almost a seeming contradiction for a solid-state mic.

On a warm-sounding room, the Mojave MA100 omni, again, is one of the very few small mics that can be used to close-mic a classical violinist, without EQ, and it sounds really good, “just like a record.”

  Nonetheless, the vacuum tube MA-100 (containing the same miniature JAN 5840 vacuum tube Royer uses in all his mics) “looks like” a standard small diaphragm mic, only a tiny bit thicker. But appearances can be deceiving, for the MA-100 makes use of an output transformer which might even be larger than the one which forced Mojave to increase the diameter of the MA-101fet’s cylindrical metal enclosure beyond what is usually considered “normal” for a pencil-type microphone. “But where is the MA-100‘s transformer?,” you ask?"
  When I reviewed Mojave’s large diaphragm MA-301fet, I wrote from the point of view that, if I were to build a high-end solid-state microphone (in my head) from scratch, I might end up with one very similar to the MA-301fet. I made that rather strong statement based on my personal experience, over many years, with myriad microphones, and my long relationships with the best of today’s artisan microphone designers, especially the late Stephen Paul.
  Well, I’m about to go out on a similar limb and support a view, in the present article, that Dave Royer — the guiding force behind both Royer Laboratories and Mojave Audio — has combined the best of vintage and modern microphone design philosophies. With the MA-100, Mojave has produced the quintessential modern, pencil-type vacuum tube microphone. I only regret that I waited so long to try it!
  Just as in that previous article, a little bit of history is also in order here. Only this time — thanks to my trusty iPhone — I have a few supplementary photos as illustrations. First, let’s return to the question of that elusive output transformer. From the 1970s onward, engineers who thought “small diaphragm microphone” would suggest the AKG C-451 or the Neumann KM 84. Although they sounded quite different from each other, one thing they had in common was the presence of a little “peanut” output transformer, right behind the XLR connection, opposite the end with the capsule.

AKG C 60, Neumann KM 53 and 54, MA-100

An inside peek: C 60,  KM 53 and MA-100

  However, to the previous generation of engineers, working in the late Fifties and throughout the Sixties (before the days of the 451) AKG sold a markedly smaller small-diaphragm microphone, the C 60 — and that mic even had a vacuum tube in it! In fact, I own six of them; there are several angles of one of mine visible in the pictures below. If you examine my photo carefully, you’ll notice the tiny AC701k vacuum tube, a few passive parts, but not much else. No transformer! Now, please examine the Mojave MA-100. Its innards are even more spartan than my C 60’s; all one can see is the 5840 tube—no resistors, nada, that’s it; just the miniature tube!
  I did not photograph one of my C 60 power supplies, but please take a look at the Mojave power supply, with its cover conveniently removed. The two large cylindrical Jensen JT-MB-C mic output transformers sort of jump out at you, don’t they? Besides the multi-voltage AC transformer, they are the largest parts in the box!
  Thus, the answer to the question is: just as AKG did with its C 60 mic (from the 1960s), Mojave also “separated” the connection between the output from the vacuum tube and the mic’s output transformer by the microphone cable! Yes, there are vacuum tube circuits that can easily drive a 10-meter microphone cable without noticeable degradation, and the various flavors of the cathode-follower circuit are some of them.

You can also buy the mics in a $1,500 “stereo kit” — the MA100SP — with both microphones, a single power supply, the two mounts and a stereo bar, with all the hardware placed in a single case.

  One also shouldn’t forget that Mojave supplies two capsules per mic—cardioid and omnidirectional. And, yes, one can swap capsules between the MA-100 and MA-101fet! The colors don’t match on a normal MA-100, but it’s a cool look, reminiscent of a vintage AKG C 60, with its shiny capsule and matte body! (See photo.) Swapping the MA-100’s capsules with the MA-101’s gives you a completely black mic, if you ever need that on stage. I noticed no obvious difference (besides the color) between the MA-100’s silvery capsules, and the black ones that came with my MA-101fets.

The audition
  So now, let’s talk about the sound of the Mojave MA-100, and the reason why it didn’t stay long in the closet with my vintage mics; these modern small condensers spent most of their time on a pair of mic stands, out in the large room at Studio Dufay — ready for numerous recording projects that might come along.

  One “advantage” of modern digital recording practice is that—with today’s interfaces and DAWs—it’s really easy to add extra recording channels/tracks. Accordingly, many classical music engineers, yours truly included, often record extra mics (or mic pairs), “just in case — tracks which usually don’t end up in the final mix or, if they do, are sometimes mixed so far down that they just add a little “atmosphere” to the mix.

  And if that engineer happens to be auditioning new microphones, such a scenario is perfectly conducive to extended listening — simply put up the new mics, bus to a pair of extra tracks, and record the session normally. Later on, when everyone has left, the engineer now has an entire session’s worth of “examples” of how the new mics sound, recorded in sync with all the “normal” mics. Even better in my own case — recording classical music for CD release — all the tracks stay together during the editing process (using the Pyramix DAW), right up to the absolute final mixdown. So, at any time, it would be possible to put together a “finished edit” using only the mics I just happened to be auditioning while I was originally recording the session(s).

MA-100 power supply

  As I mentioned, I’ve concluded that the Mojave MA-100s sound “in the same family” as my vintage Neumann KM 54s. By that, I mean, first, that they sound much closer to my KM 54s than they do to any of my comparable Schoeps, or to any of my comparable AKG pencil mics.

  Second, compared to other members of the Neumann KM 53/54 family (I own multiple examples of each) here at the studio, it sounds close enough to them (capsule for capsule, etc.) to actually be considered sounding more like one of those actual vintage German mics, than any other model of mic I’ve heard.

  I’m not theorizing about how Dave Royer accomplished this sound quality with a ¾-inch capsule design; I’m just guessing that it’s a whole combination of factors; the sum total has contributed to this happy serendipity. Or maybe, we should just call it good engineering! Certainly, remoting a high-quality, large mic output transformer to the power supply was a smart move.

  The capsule, itself, sounds wonderful to my ears, with good off-axis sound pickup — maybe 80% as smooth as that of a true ½-inch diaphragm. And by choosing to use 3-micron Mylar film, as in the MA-101fet and MA-301fet models I previously reviewed, Dave Royer has, again, made a sensible compromise between “peakiness/smoothness” and diaphragm stability and longevity.

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  My own 1-micron pair of KM 54s, which I’ve owned for about twenty years, are still OK, but I treat them with kid gloves. However, their upper midrange peak is a bit lower in amplitude, and farther up the frequency spectrum, with the end result that they have a bit less of the typical Neumann “brash” sound quality than do the Mojaves. But we’re talking very subtle here — the difference in sound between 3-micron and 1-micron diaphragms!

  When I compared the Mojave MA-100 with its omnidirectional capsules to a matched pair of my Neumann KM 53s, the difference went in the opposite direction. That is to say that, since my vintage Neumanns still have the original nickel diaphragms, they sounded a little more aggressive, a little more “Neumann-like,” than did the 3-micron Mylar diaphragms of the Mojaves. And this is a good thing, for I feel that the omni diaphragms are the unsung heroes of this mic. In a good room, used close-up, or even medium-distance from just about any acoustic source, it doesn’t get any better, any more faithful to the original sound, than a small diaphragm omni.

In a good room, used close-up, or even medium-distance from just about any acoustic source, it doesn’t get any better, any more faithful to the original sound, than a small diaphragm omni.

  And with the Mojave MA-100’s extremely wide frequency response — coupled to the outside world by that awesome large Jensen transformer and elegantly simple cathode-follower circuit featuring the tiny 5840 tube, a few premium passive parts, and not much else — it can reproduce any source’s low end with just the right weight and authority.

  Just try a pair of the omnis: about three directly over a 9-foot grand piano, lid removed — one centered over the treble strings, one over the lower strings — and be amazed! On the other end of the spectrum, in a warm-sounding room, the Mojave omni, again, is one of the very few small mics that can be used to close-mic a classical violinist, without EQ, and it sounds really good, “just like a record.”

  And either of the cardioids or the omnidirectional capsules work beautifully, in pairs, on acoustic guitar. I know that sometimes I’ll use two large diaphragm mics on acoustic, but for those situations where that approach simply produces too “large” a sound, switching down to omni MA-100s first, and then down to the cardioids, if necessary, will reduce the “size” of the sound without ever making any of the “sizes” sound thin or gutless.

The verdict

  I wish I could illustrate this article with some of those tracks I’ve recorded over the past year or so with the MA-100, but copyright restrictions (both in the pop and the classical repertoire it was used on) preclude my doing so. All I know is that, having this pair of Mojave MA-100 mics at Studio Dufay for the past year has brought smiles to the faces of just about everyone I’ve tracked and, as a new addition to the “small diaphragm tube Neumann” category in my mic locker, it has made my life a whole lot easier.

  Thank you, Dave Royer. You’ve done it again! Now how about a small-diaphragm stereo mic—on the line of the Neumann SM 2 or 23, but like the MA-100, with the transformers down in the power supply? You’ve got all the ingredients, and I’ve already built it, in my head, for you...

  Dr. Fred Bashour has been a classical recording engineer for the past 45 years, with recordings released on over twenty labels, including Musical Heritage Society, Naxos and Dorian. His studio, Dufay Digital Music, is located in Western Massachusetts. He holds a Yale Ph.D. in Music Theory and is also an gigging keyboardist. He can be reached via the Everything Audio Network, everything.audio@verizon.net

  Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Audiophile Review! Resonessence Labs HerusDAC/Headphone Amplifier:Big Sound From Mini-Converter

Brevis...

Price: $350

Likes: sound quality, price

Dislikes: where did I put it?

Wow Factor: "ideal for mobile players"

More info: Resonessence Herus

(©Everything Audio Network)

by John Gatski

  In the past four years, I have reviewed three Resonessence DACs in various price ranges, including the diminutive-sized portable Herus reviewed here. I have to say they all have an essentially balanced, smooth sonic signature that varies in refinement, based on the price.

  The $350 Herus reviewed here is the smallest and lowest-cost Resonessence DAC, but it is a hi-fi product that gets you into the high-end sound without the bells and whistles and the extra expense of high-end DACs. And it is perfect for those on the go with smart phones and tablets that are capable of transmitting native high-res DSD via DoP and PCM up to 24/352.8. (In fact, the Herus will play 24/384 material at the 352.8 rate).

Features

  The Herus DAC is only 3-inches long and 1.2-inches thick with a USB B female connector on one end and a headphone jack on the other. The logo illuminates blue when it sees a signal. Nothing fancy.

  The heart of the Herus is the mobile ESS Sabre DAC ES-90102M chip, optimized for USB 2.0’s low-current, 5V DC power. Although its numbers are not as impressive as the mighty ESS Sabre32 flagship DAC chip, it retains much of the balanced, warm, smooth and detailed character of its more expensive siblings.

  The Herus DAC can decode up to 24/352.8 (DXD) in PCM and up to DSD 2X (5.6 MHZ/128X) via DoP. Gain for the Herus is adjusted in the playback program, but it is a hardware volume control in the Sabre chip that is software controlled. The audio is all processed in the DAC chip.
  Resonessence President Mark Mallinson said the volume must be handled by the chip to ensure proper DSD decoding via DoP. “If it was doing a software volume, DSD wouldn't work — since it relies on bit perfect audio from the player program,” Mallinson explained.

  The DAC spec is whic is listed at 100 dB S/N and dynamic range, but Resonessence claims actual performance is -106 to -108 dB. This chip was designed to offer good performance at USB 2.0-supplied 5V,500 mV power. The typical power consumption ranges from 126 mW with a 32 ohm headphone load, to 9.5 mW with a 600 ohm headphone load. The THD plus noise spec ranges in the .003% region with most headphone impedances, not as good numbers as its big brothers’, but decent for such a low-power device. In fact, the numbers don’t truly reflect how good it sounds.

**For Mac, the Herus works with most computer players, including Audirvana, Pure Music, AudioGate, and iTunes and a host of recording/editing playback systems. In my experience with the Mac and Herus, it worked well with all the programs I tried. Some Windows programs may need a driver.

The teeny Herus is a downright super bargain at $350. Great sound with a smooth, detailed character, good separation and the ability to drive most headphones Herus works with computers, Android tablets and phones, and iPhone and iPads. 

  As or maybe more important, the Herus portable DAC headphone amp is a perfect companion to all the USB-equipped portable devices that inhabit our modern world: tablets, smart phones, laptops, etc. My review focused on Mac computer and Android phone and tablet, but Resonessence says that Herus also works with ipad and iPhone, but you need the camera dock to get USB connectivity.
  Not normally promoted as a recording tool, I found  Herus a quality listening tool for audio professionals and home recordists who want to monitor their recorded projects via headphones — without having to carry around a bigger headphone amp/DAC and the tethering-AC cord. I used it with a variety of editing and playback programs, and it worked with ease. Even did a final quality check on a 24/352.8 acoustic guitar stereo recording that I had made when traveling on a short vacation.

The setup

  I had several DACs on hand during the evaluation process, including my other USB-powered Resonessence, the step-up Resonessence Concero HP ($850) for comparison, and my high-end Mytek 24-192 DSD and Benchmark DAC2D. For headphones, I used the Shure SRH-1840, Sony MDR-7510 Professional and the AKG K702 Anniversary.

  For audiophile playback I started off with my Macbook Pro and Audirvana software, and later plugged into a Dell Venue 7 tablet with the USB Audio Player Pro app (separate review upcoming) and a HTC Harman-Kardon Edition smart phone with USB Audio Player Pro. USB Audio Player Pro allows most Android devices to play up to 24/384 PCM playback out the device’s USB port. You just need an OTG cable to enable the host player mode to transmit the audio, but it works.

The audition

  As soon as I plugged the Herus into the Macbook Pro, I selected the Herus in the Mac’s Core Audio Audio settings, and it was immediately recognized; no extra software needed. The volume is controlled by the program software; no knobs on this little DAC. I played the music via Audirvana.

  First up, my download of the 2L 24/352.8 DXD-recorded Mozart — Violin Concertos (three separate performance — the D, G and A Concertos). Via the SRH1840, the violin tones were vivid with a good deal of the string harmonics and room reverb that I hear with more expensive DACs. And the imaging and separation was quite good. The balanced, yet smooth, tone, indicated the ESS DAC chip underpinnings; you could definitely tell it was a Resonessence DAC.

  Compared to the almost $850 Concero HP, there was slightly less width and depth and a tinge less sparkle to the upper end transient tones, but not a major league difference. I rather liked the sound of this diminutive-sized HP amp/DAC. The DAC2 and Mytek, of course, had more inner detail and increased imaging than Herus. But those are $1,500 plus DACS. You expect that. For the Herus to be in the ball park is a testimonial to its design.

Herus setup with Dell Venue tablet, Shure HPs
 and Pluggable USB 2.0 powered hub

  I switched to my AKG K702 HPs and cued up a 24/192 dub of Miles Davis’ “Teo,” a cut from the reissue SACD of Miles Davis — Someday my Price Will Come. This 50-year old recording has a fantastic -sounding drum set up; the cymbals and snare are quite detailed and amply spread out. You can also hear the recording studio room reverb tails and decay. The better the DAC, the better the percussion sounds. Guess what. The little Herus does a pretty good job of nailing the transients and reverb tails, not to the degree of the Benchmark, but enough to know it is high res. Oh, and did I mention it was $350?

  I played several albums of DSD downloads via Herus and Audirvana. As with PCM, it has that signature warmth and balanced of ESS DACs. I played one of my own DSD 5.8MHZ/128X jazz guitar recordings, as recorded on a TASCAM DA-3000 hi-res recording. To my ears, DSD/2.8 MHZ/128X is a little tighter in the bass than standard DSD 2.6 MHz/64X.

For my computer recording rig, the Herus came in handy. No power cords and components looking for a place to be placed. A simple little rectangle that takes up very little space. Just plug in the phones and record, edit, master, etc. The little guy is plenty good to check the quality of your work with good headphones.

  For my computer recording rig, the Herus came in handy. No power cords and components looking for a place to be placed. A simple little rectangle that takes up very little space. Just plug in the phones and record, edit, master, etc. The little guy is plenty good to check the quality of your work with good headphones.

  I used Herus with Apple Soundtrack, GarageBand, and Audacity. It was instantly recognized and I never had a single glitch. Volume was adjusted in the program. I also plugged into the Herus to monitor a 24/352.8 acoustic guitar recording I made with my recording gear and the Mac. It was just what I needed for the final edits and QC.

Ideal for Android players

  To take advantage of Herus’ portability, I added a OTG cable to my Dell Venue 7 tablet, so it could play high-res music from the USB Audio Player Pro Android program. You need the OTG to enable the host mode and connect the required USB A-to-USB B cable to the DAC. Tablets only have micro connectors and cannot connect to otherwise-terminated, outboard USB gear without this adapter

  A word of warning, the tablet or smart phone supplies the power to the DAC, which can run the battery down in just over an hour if the DAC does not have its own power, like Herus. You can avoid power loss by connecting the Android device to a powered USB hub with the other connection on the OTG. To enable this powered setup, plug in the OTG cable into the Android devices micro USB port. You then connect the OTG adapter cable’s female micro USB output port to a micro SD male-to-USB A (standard or mini) male connector cable, which is then plugged into the powered USB powered hub.

  You then attach a USB A male-to-USB A-male (or USB A male mini) cable into the other OTG input: a USB A female port. That cable is connected to any A or Mini-A port on the hub, and finally, the USB A-to-USB B cable goes from the hub to the DAC. Voila, not only do you get native high-res PCM output from Android, the DAC is powered independently, and the Android device is charged from the same USB connection. It sounds complicated, but in reality it is easy to hook up, and you can listen for hours as the battery stays charged

  On some Androids you can keep the battery charged without the powered hub, by plugging the devices’s micro USB terminated charger straight into the OTG and plugging into the other OTG port with a USB A-to-B cable connected straight into the DAC. My Dell charger provided enough power to run the DAC and charge the battery — without the hub. (The powered hub also allows connection of external hard drives to Android devices, but we will save that for another day.)

  Once I had the DAC connected to the Android, I fired up USB Audio Player Pro.This dandy PCM playback program allows most Android phones and tablets to play and transmit the native PCM audio to an external USB DAC — up to 24/384.

  Operation was a snap with USB AudioPlayer Pro; it allows for volume control and simple playback preferences. It is an amazing music player for $7. I played numerous bits of hi-res music, including high sample rate recordings with the Dell tablet with no problems. On the Mozart — Violin Concertos and Haydn/Bartok — Cello Duos, also a 2L 24/352.8 DXD, the sound quality via the tablet was as good through the Herus as the Macbook Pro and Audirvana playback, Clean, quiet, smooth and plenty of detail, especially for the money. High-end DACs from 5-10 years ago don’t sound this easy on the ears.

The Herus retained its good Android performance when I switched to the HTC 1 HK Edition smart phone, using the OTG cable, with USB Audio Player Pro installed. Screen was a little harder to see than the bigger tablet, but the audio was first rate. I even played back a 24/352.8 acoustic guitar stereo recording via the smart phone/USB Audio Player Pro and Herus.

  The Herus retained its good Android performance when I switched to the HTC 1 HK Edition smart phone, using the OTG cable, with USB Audio Player Pro installed. Screen was a little harder to see than the bigger tablet, but the audio was first rate. I even played back a 24/352.8 acoustic guitar stereo recording via the smart phone/USB Audio Player Pro and Herus. Man, do I love that set up. Sadly, the HTC phones does not charge from the hub while playing through Herus, but that is an Android problem.

  Any complaints? Not much. The size can have its own drawbacks. I misplaced it several times and it is so small, it was hard to find. Since it does 352.8, it would be nice to tweak it slightly so it could also play 384 sample rate music without downsampling. A sample rate or word length indicator would be nice, but you can’t expect too many bells and whistles — since it is North American manufactured and only $350.

The verdict

  My third Resonessence DAC and yet another winner. While the flagship Invicta was the ultimate Resonessence product — with a fantastic headphone amp and SD Card player onboard — and the Concero HP offered much of the same tonal quality in a down-priced, HP-only version at under $900, the teeny Herus is a downright super bargain at $350. Great sound with a smooth, detailed character, good separation and the ability to drive most headphones Herus works with computers, Android tablets and phones, and iPhone and iPads. During the review, it become my travel DAC — pairing it with my Dell tablet and USB Audio Player Pro. Load up the external micro SD card with hi-res PCM, plug in the DAC with an OTG cable, and away I would go with my Shure SRH-1840’s stuffed in the bag.

  With the Herus review now complete, Resonessence is now three for three in Everything Audio Network Stellar Sound Awards.

 John Gatski is publisher/owner of the Everything Audio Network. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.